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Art  Studies  for  Schools 


HINTS    ON    THE    USE    OF    REPRODUCTIONS    OF 
HIGH    ART    IN    THE     SCHOOLROOxM 


ANNA    M.   VON    RYDINGSVARD,  A.M. 

Formerly  Professor  in  the  Massachusetts  Normal  Art  School,  Boston,  Mass.,  and  Translator 

of  "My  Lady  lyegend."  "Vera  Yorontzoff,"  "FIndymion," 

"Judas,  a  Story  of  the  Passion,"  etc. 


A.     FLANAGAN    COMPANY 
CHICAGO  NEW  YORK 


Re 


COPYRIGHTED  1903 

BY 

A*  PLANAC ' ' '  'COMPANY* 


PREFACE 

THE  results  obtained  by  the  teaching  of  drawing  in  the 
public  schools,  in  a  systematic  way,  have  proved  the 
wisdom  of  those  who  were  pioneers  in  the  work  in 
the  early  'seventies.  It  was  to  be  expected  that  this  universal 
development  of  the  art  instinct  in  our  young  people  would 
lead  to  the  demand  for  high  art  in  schools — at  least  so  far  as 
the  placing  of  good  examples  before  the  eyes  of  the  pupils  is 
concerned — and  this  demand  is  being  met  by  thoughtful  edu- 
cators everywhere. 

It  is  our  purpose  in  these  pages  to  show  what  practical 
use  can  be  made  of  pure  examples  of  the  pictorial  art  in  incul- 
cating lessons  of  permanent  value  in  youthful  minds;  and  also 
how  they  can  be  made  auxiliaries  to  the  regular  school  studies, 
such  as  history,  geography,  literature,  and  science. 

In  teaching  art  in  schools  it  is  an  excellent  idea  to  present 
groups  of  subjects  appropriate  to  the  seasons  as  they  come  and 
go.  As  the  gathering  in  of  the  rich  products  of  Mother  Earth 
approaches,  take  a  look  at  a  few  harvest  pictures  by  cele- 
brated artists.  The  ever  fruitful  topic  of  Thanksgiving  comes 
closely  after,  followed  by  the  beautiful  Christmastide.  There 
is  a  large  range  of  subjects  from  which  to  choose  for  Christ- 
mas, and  many  excellent  lessons  may  be  taught  from  them. 

The  months  of  February,  March,  and  April  give  us  patri- 
otic days  to  study  pictorially,  and  spring  is  a  subject  delight- 
ful to  old  and  young  alike.  The  loveliness  of  June  and  the 
patriotism  of  the  Fourth  of  July  furnish  their  subjects  also. 

3 

221774 


PREFACE 


The  lists  of  J.  Frederick  Hopkins,  Supervisor  of  Drawing 
in  Boston  public  schools,  and  of  Henry  Turner  Bailey,  Super- 
visor of  Drawing  in  Massachusetts  public  schools,  have  been 
used  as  a  foundation  for  the  choice  of  subjects  in  this  book; 
though  a  number  of  additions  have  been  made.  Any  teacher 
interested  in  the  matter  can  make  out  an  equally  good  list 
from  the  catalogue  of  Perry  Pictures  or  of  the  Soule  Photo- 
graph Company. 

Many  of  our  illustrations  are  used  by  courtesy  of  the  New 
England  Publishing  Company 


INDEX   OF   ARTISTS 


Name  Page 

Adam.  J 8 

Adan,  L.  E 2S 

Alma-Tadema,  Sir  L 138 

Bastien-Lepage,  J 116 

Bayes,  a.  W 46 

Blashfield.  E.  H 78 

BONHEUR.    R 16 

BouGHTos.  G.   H 42 

BOUGUEREAU,   G.    A 70 

Breton,  J.  A 32 

Bridgman,   F.  a 172 

Briton  Riviere 174 

BuRNB-JuNES,  Sir  E 134 

Chapman.  J.  G 50 

Cimabue.  G 52 

Cobb,  Cyrus 114 

CoRoT.  J.  B.  C 126 

CORREGGIO  (A.    A.) So 

Dagnan-Bouveret,  p.  a.  J.     12,  76 

Dyck.  Sir  A.  Van 84 

Fromentin.  E 178 

Gainsborough,  T 112 

Gardner,  E.  J .   164 

GuiDo  Reni 142 

Hardy,  Hey  wood 170 

Hoeckert,  J.  F 10 

hofmann.  h 130 

Holbein,  H 106 

Holmes,  G.  A 150 

Hunt,  W.  M 14S 

Ittenbach,  F 68 

Jacque,  C.  E 162 

Japy,  L.  a 40 

Knaus,  L 82 


Name  Page 

Landseer,  Sir  E.  H 156 

Lebrun,  M.   L.  E.  V g6 

Leonardo  da  Vinci      ....     56 

Lerolle,  H 74,  152 

Max,  G 72 

Memling,  H 58 

Meyer  von  Bremen,  J.  G.      .     .154 

Millet,  J.  F 20,  166 

Murillo,  B.  E 66 

Raphael 60,  102 

Rembrandt  van  Ryn     .     .     .38,  94 

Rem,  Guido 142,  144 

Renouf,  E 146 

Reynolds,  Sir  J .     98 

Richter,  G.  K.  L no 

Riviere.  B 174 

RoNNKR.  H.  K 160 

Rosa,  Salvator 120 

Rossetti,  G.  C.  D 132 

RUBKNS.  P.  P 64 

Salvator  Rosa 120 

Sargent,  J.  S 140 

ScHRKYKR.  A 180 

Titian 86 

Troyon,  C 14 

Turner,  J.  M.  W 122 

Van  Dyck,  A 84,  go 

Velasquez,  Don  R 92 

Vernet,  E.  J.  H 184 

Vigee-Lebrun,  M.  L,  E.  .     .     .     96 

Vinci,  L.  da 56- 

Wagrez,  J.  C 168 

West,   B 118 

Zuber,  J.  H 30 


INDEX    OF    SUBJECTS 


Page 
Alexander    and    Diogenes    (Sir 

E.  H.  L.) 158 

Angelas.  The  (J.  F.  M.)  ...  24 
Assumption  of  the  Virgin,  The 

(T.) 86 

Aurora  (G.  R.) 142 

Baby  Stuart  (Sir  A.  Van  D.)  .90 
Baptism  of  Pocahontas  (J.G.C. )  50 
Beatrice  Cenci  (unkn.)  ....  144 
Blessed  Damozel.  The  (G.  C.  D. 

R) 132 

Bowles,  Miss  and  Her  Dog  (Sir 

J.  R.) 100 

Buttermaker,  The  (J.  F.  M.)  .  26 
Caligula's  Palace  and  Bridge  (J. 

M.W.  T.) 122 

Can't  You  Talk?  (H.)  ....  150 
Christmas  Chimes  (E.  H.  B.)  .  78 
Circe  and  Companions  of  Ulysses 

(B.R.) 174 

Corner  in  Venice,  A  (J.  C.  W.)  168 
Dance  of  the  Nymphs,  The    (J. 

B.  C.  C.) 126 

Daniel  in  the  Lions*  Den  (B.  R.)  176 
Death  of  Wolfe.  The  (B.W.)  .  ii3 
Departure  of  the  Mayflower  (G. 

H.  B.) 46 

Diogenes  in  Search  of  an  Honest 

Man  (S.  R.) 120 

Don  Balthazar  Carlos  (Don  R.  V.)  92 
Fascinating  Tale,  A  (H.  K.  R.)  160 
Feeding  Her  Birds  (J.  F.  M)  .  166 
Fighting  Temeraire.  The  (J.  M. 

W.  T.) 124 

Forgotten  (H.  H.) 170 

Four  Little  Scamps  Are  We  (J. 

A  )  8 

Girl  with  Cat  (j.  F.  H.)'  .  .  .  10 
Gleaners,  The  (J.  F.  M.)  .  .  .  22 
Golden  Stair,  The  (Sir  E.  B.-J.)  136 
Halt  in  the  Desert,  A  (A.  S. )  .  182 
Haymaker,  The  (L.  E.  A.)  .  .  28 
Helping  Hand.  A  (E.  R.)  .     .     .146 

Holbein,  Portrait  of 108 

Holy  Family  (B.  E.  M  )  .  .  .  66 
Holy  Family  (P.  P.  R.)  ...  64 
Holy  Night',  The  (A.  A.-C.)  .  80 
Horse  Fair,  The  (R.  B.)     ...     16 

Hosea(J.  S.  S.) 140 

Hunting  with  Falcons  (E.  F.)  .178 
Jesus  as  a  Boy  in  the  Temple 

(H.  H.)     .     : 130 

Joan  of  Arc  (J.  B.-L.)  ....  117 
John  Wesley  Preaching  to  In- 
dians (unkn.) 48 

June  Clouds  (W.  M.  H.)     ...   148 


Page 

Kabyle,  A.  (A.  S.) 180 

Lark,  The  (J.  A.  B.) 34 

Lebrun,      Madame,      and     Her 

Daughter  (M.  L.  E.  L. )  .     .     .  96 

Madonna  and  Child  (D.-B.)    .     .  76 

Madonna  and  Child  (G.  M.)   .     .  72 

Madonna  and  Child  (H.  M.)  .     .  58 

Madonna  and  Child  (F.  L)    .     .  68 

Madonna  Enthroned  (G.  C;  .     .  52 

Madonna,  Meyer  (H.  H.)  .     ,     .  106 

Madonna  of  the  Chair,  (R.  S.)   .  104 

Madonna  of  the  Lily  (L.  daV.)  56 

Madonna,  Sistine  (R.  S.)  .     ,     .  60 

Mill,  The  (R.  yan  R.)  .  .  .  .  38 
Morning   in    the  Highlands  (R. 

B.) 18 

Nativity,  The  (H,  L.)  .  .  .  .  74 
Oxen  Going  to  Labor  (C.  T.)  .14 
Paul  Revere's  Ride  (C.  C.)     .     .114 

Penelope  Boothbv  (Sir  J.  R.)     .  98 

Pet  Bird,  The  (M.  von  B.)     .     .  154 

Pilgrim  Exiles  (G.  H.  B)  .  .  .  44 
Pilgrims  Going  to  Church  (G.  H. 

B.) 42 

Portrait  of  an  Old  Woman  (R. 

yan  R.) 94 

Portrait  of  Himself  (H.  H.)  .     .  108 

Prayer  in  the  Desert  (E.  J.  H.V.)  184 
Procession   of  Apis-Osiris,   The 

(F.  A.  B.) 172 

Queen  Louise  (G.  K.  L.  R.)  •  .110 
Raphael  Sketching  the  Madonna 

(R.  S.) 102 

Reading  from  Homer,  A  (Sir  L. 

A.-T.) 138 

Repose  in  Egypt  (Sir  A. Van  D.)  84 

Rest  in  Flight  (L.  K.)    .     .     .     .  82 

September  (J.  H.  Z  )    .     .     .     .  30 

September    Evening   (L.    A.  J.)  40 

Sheepfold,  The  (C.  E.  J.)  .  .  .  162 
Shepherdess,  The  (H.  L.)  .     .     .152 

Shepherdess,  The  (J.  F.  M.)  .     .  20 

Sick  Monkey,  The  (SirE.  H.  L.)  156 
Siddons  Mrs.  (T.  G. )      .     .     .     .112 

Sifter  of   Colza,  The  (J.  A.   B.)  36 

Sistine  Madonna 60 

Spring  (J.  B.  C.  C.) 12S 

Temeraire,  The  Fighting  .     .     .  124 

Tribute  Money.  The  ....  88 
Two  Mothers  and  Their  Families, 

The  (E.  J.  G.) 164 

Vintagers,  The  (J.  A.  B.)  .  .  .  32 
Virgin,    Infant    Jesus    and    St. 

John  (G.  A.  B.) 70 

Watering  Trough,  At  the  (D.-B. )  12 

Winter  (Sir  E.  B.-J.)     ....  134 


Art  Studies   for  Schools 


A   LITTLE   TALK  TO  THE    PUPILS 

MANY  of  the  valuable  facts  in  the  history  of  our  race 
have  been  gathered  from  art  remains,  that  is,  from 
ruins  of  buildings,  of  carved  ornaments  on  buildings 
or  of  wall  paintings,  and  from  decorations  on  pottery,  on  metal 
objects  and  on  woven  fabrics.  This  is  because,  in  all  ages, 
artists  have  put  the  customs  of  the  people  around  them,  the 
costumes  worn  by  them,  their  games,  their  great  deeds  in  war, 
etc.,  into  their  own  carvings  and  paintings.  Then  by-and-by 
the  feelings  and  emotions  of  people  took  a  place  among  the 
subjects  represented.  And  so  artists  began  to  wield  a  great 
influence  over  their  fellow-men  by  means  of  their  art. 

As  you  study  the  pictures  in  this  little  book,  you  will  find 
that  very  different  thoughts  and  emotions  are  stirred  in  you 
by  pictures  of  varying  character.  Some  will  rouse  your  mirth, 
others  may  make  you  feel  sad,  while  many  will  stir  very  noble 
thoughts  about  doing  good  to  others. 

Do  you  fully  realize  what  a  power  it  is  to  possess  the  gift 
of  stirring  the  emotions  and  arousing  worthy  thoughts  by  what 
one  can  paint  on  canvas  or  carve  in  marble  ?  It  is  a  power  to 
be  carefully  cultivated  and  cherished  as  a  gift  from  God,  never 
to  be  abused  or  misused.  We  should  try  to  keep  before  our 
eyes  and  in  our  thoughts,  the  works  of  those  men  and  women 
of  genius  who  have  been  so  grateful  to  God  for  the  goodness 
and  beauty  He  has  created,  that  they  have  striven  to  put  it 
into  their  pictures  and  poems  and  music  so  as  to  make  of 
them  blessings. 


ART    STUDIES    FOR    SCHOOLS 


Artist:  J.  Adam 

Birthplace :   France 

Dates :  1801-1867 

Subject :         Four  Little  Scamps  Are  We 

ALL  children  are  fond  of  animals,  and  as  these  have  been 
the  humble  companions  and  faithful  servants  of  man 
since  the  creation  of  the  world,  it  seems  fitting   that 
we  should  devote  some  of  our  time  and  attention  to  a  study 
of  them  as  they  have  been  portrayed  by  various  well-known 
artists. 

Look  at  these  four  fluffy  little  kittens  in  a  row,  all  of  one 
happy  family,  I  am  sure.  It  is  easy  to  see  they  have  had  a 
kind  mistress.  Did  you  ever  think  how  much  expression 
there  is  in  animals'  faces  and  motions?  Observe  these  kittens, 
for  instance.  The  one  on  the  left  seems  amiable  and  con- 
tented<  with  head  on  one  side;  the  next  is  deeply  thoughtful, 
with  head  cast  down,  just  as  people's  heads  usually  are  when 
they  think  a  great  deal;  the  third  one  is  keen  and  alert,  ready 
for  anything  that  may  happen,  and  looks  as  though  prepared 
for  a  spring;  we  could  imagine  he  saw  a  bird.  Now  the  one 
on  the  right  is  funniest  of  all;  so  pompous  an  air,  such  com- 
placency,'would  well  fit  a  grandee;  he  seems  to  say,  "Do 
you  see  my  fine  neck-tie?  I  am  the  only  one  who  wears  a 
silk  ribbon."  Dear  little  things!  let  them  take  comfort  now, 
for  soon  they  will  have  to  work  hard  catching  mice;  and 
perhaps  they  will  not  always  be  so  well  cared  for  as  they 
evidently  have  been  thus  far. 


Four  Little  Scamps  Ark  \Vk — By  J.  Adatn 


10  ART    STUDIES    FOR    SCHOOLS 

Artist:  Paul  Hoecker 

Birthplace:  Holland 

Dates:  1854- 

Subject:  Girl  with  Cat 

WHAT  first  catches  the  eye  in  the  picture  opposite?  Is 
it  the  black  puss}^  with  her  bright  yellow  eyes,  or  the 
girl's  funny  shoes  that  look  like  boats,  or  those  two 
queer  knobs,  one  on  each  side  of  her  forehead?  Perhaps 
it  is  the  sweet  face  of  the  dear  little  girl  herself — and  I  think 
that  is  the  best  part  of  the  picture. 

Where  do  you  suppose  this  little  maid  lives,  to  be  wearing 
shoes  so  odd?  She  lives  far  away,  across  the  ocean,  where 
the  poor  people  are  called  peasants,  and  where  women  and 
men,  and  children,  too,  have  to  work  hard  in  the  fields,  and 
so  need  very  stout  shoes  that  will  not  wear  out  so  quickly  as 
leather  ones  would.  Besides,  these  wooden  shoes  are  cheaper 
than  leather,  and  peasants  in  Europe  are  very  poor.  That  is 
why  so  many  of  them  like  to  come  to  our  country;  not  because 
they  do  not  lov^e  their  native  land  just  as  much  as  you  love 
yours,  but  because,  after  they  have  worked  long  and  faithfully 
over  there,  they  have  little  to  show  for  it,  and  nothing  to  lay 
up  for  their  children  or  with  which  to  give  them  an  education. 

This  little  girl  has  had  to  learn  most  of  her  lessons  from 
nature.  She  has  not  been  able  to  go  to  school  as  you  have. 
But  she  has  preserved  a  sweet  disposition,  as  you  can  see  by  the 
expression  of  her  face,  and  she  must  be  kind,  for  the  cat  seems 
to  love  her.  And  that  is  something  everyone  can  do — be 
sweet  and  kind,  no  matter  what  happens,  and  then  everything 
around  one  goes  more  smoothly  and  all  who  meet  one  are 
made   happier. 

In  Holland  and  Belgium,  in  some  parts  of  France,  and 
along  the  Rhine  you  will  see  little  boys  and  girls  wearing  such 
shoes  as  this  child  has  on,  if  you  ever  go  abroad  for  a 
summer  journey.  I  have  a  pair  bought  in  the  town  in  Den- 
mark where  Hans  Christian  Andersen  was  born,  and  some  tiny 
ones  obtained  in  Stockholm. 

Think  how  many  things  you  have  to  be  thankful  for,  to  which 
those  peasant    children  are    not  born!     Do   you  believe   you 


Girl  with  Cat — By  Hoecker 


12  ART    STUDIES    FOR    SCHOOLS 

arc  <rrateful  enough  for  having  been  born  in  so  glorious  a 
country  as  the  United  States,  where  the  best  in  education  and 
art,  as  well  as  freedom  of  life  and  thought,  is  the  birthright  of 
all  her  sons  and  daughters?  If  you  have  not  begun  to  express 
your  gratitude  and  show  your  love  for  your  country,  begin 
to-day,  and  you  will  grow  up  to  be  a  better  citizen,  a  credit 
to  your  native  land,  and  a  help  to  your  fellow-men. 

Point   out  the    Rhine   River.     Who   was    Hans   Christian   Andersen  ? 
Where  is  Stockholm  ? 


Artist :  Pascal  Adolphe  Jean  Dag*nan-Bouveret 

Birthplace :  France 

Dates:  1852- 

Subject:  At  the  Watering*  Troug^h 

THE  picture  shown  on  the  opposite  page  has  a  charm  for 
all  lovers  of  animals,  and  is  just  such  a  scene  as  any 
one  of  us  may  have  witnessed,  time  and  again,  in  the 
country.  The  "farm  hand"  has  brought  his  two  noble  horses 
to  the  watering  trough  to  cool  and  refresh  them  after  their 
day's  labor.  We  may  be  sure  they  have  been  working  hard; 
the  white  horse  drinks  in  a  very  thirsty  manner,  and  the  black 
one  looks  important  and  self-satisfied,  just  as  people  are  apt 
to  look  when  they  are  conscious  of  having  done  their  duty  and 
know  that  reward  is  near.  It  is  easy  to  see  these  are  foreign 
horses,  for  their  harness  is  different  from  any  to  which  we  are 
accustomed,  and  as  the  picture  is  from  a  painting  by  a  French 
artist,  we  may  guess  quite  safely  that  they  are  the  horses  of 
some  thrifty  French  farmer. 

Dagnan-Bouveret  was  born  in  Paris  in  1852.  He  is  still 
living  and  painting  and  is  considered  one  of  the  great  artists  of 
the  contemporary  French  school.  He  was  made  an  officer  of 
the  Legion  of  Honor  in  1892,  and  has  received  many  medals 
for  his  work,  which  is  fine  in  drawing  and  coloring,  and  beauti- 
ful in  sentiment.  He  also  paints  portraits,  and  his  small, 
single  figures  of  Breton  peasants  are  real  masterpieces. 


At  thk  Watering  Trough— i5j  Dagnan-Bouveret 


14  ART    STUDIES    FOR    SCHOOLS 

Artist:  Constant  Troyon     ? 

Birthplace :  France 

Dates:  1810-13—1865 

Subject:  Oxen  Going  to  Labor 

CONSTANT  TROYON,  who  painted  these  "Oxen  Going 
to  Labor,"  is  one  of  the  most  famous  landscape  and 
animal  painters  of  the  last  century.  He,  too,  was 
born  in  France,  at  Sevres.  Authorities  do  not  agree  as  to  the 
exact  date  of  his  birth,  but  it  was  between  1810  and  1813.  He 
came  of  a  poor  family,  his  father  being  employed  in  the  porce- 
lain factory,  where  he  himself  worked  as  a  boy.  From  the 
start,  however,  he  was  ambitious  to  become  an  artist,  and  when 
he  finally  began  to  exhibit  his  pictures  he  quickly  gained  a 
reputation  in  England  and  the  Netherlands,  as  well  as  in  his 
own  land. 

Troyon  took  many  medals,  and  was  decorated  with  the 
Legion  of  Honor  in  1849.  He  was  elected  a  member  of  the 
Amsterdam  Academy,  and  received  the  Cross  of  the  Belgian 
Order  of  Leopold. 

Troyon  is  noted  for  variety  of  effects,  strong  coloring, 
and  grandeur  of  line  in  drawing,  and  many  critics  declare  that 
his  pictures  rank  with  those  of  Millet  and  Corot.  There  are 
many. fine  works  of  his  in  the  United  States.  So  indefatigably 
did  this  artist  work  that  at  one  time  he  was  threatened  with 
the  loss  of  his  sight. 

The  picture  shown  here  arouses  thoughts  of  activity,  for 
the  man  and  his  oxen  are  going  forth  to  the  day's  labor;  but 
if  they  remain  faithful  all  day,  they  will  earn  the  sweet  reward 
of  rest  at  evening.  Do  you  notice  that  the  impression  of 
strength  which  the  oxen  give  is  added  to  by  the  broken  ground 
and  by  the  picturesque  shadows  cast  before  the  animals  ?  These 
shadows  tell,  by  their  length,  that  the  sun  has  not  yet  risen 
far  above  the  horizon. 

For  what  is  Sevres  famous  ? 


Oxen  Going  to  Labor — By  Constant  Troyon 


16  ART    STUDIES    FOR    SCHOOLS 


Artist:  Marie  Rosa  Bonheur 

Birthplace :    France 
Dates:  1822-1899 

Subject  I:     The  Horse  Fair 

THE  next  two  subjects  are  chosen  from  the  works  of  a 
Frenchwoman  celebrated  as  a  painter  of  animals.  The 
fine,  spirited  one  called  "The  Horse  Fair"  is  perhaps 
the  best,  and  certainly  the  most  noted,  of  her  pictures.  It 
is  owned  by  the  Metropolitan  Art  Museum  of  New  York. 

Marie  Rosa  Bonheur  was  born  at  Bordeaux  in  1822,  into  a 
very  artistic  family,  for  her  father  was  a  painter  and  her 
brothers,  also,  were  artistic— one,  Auguste,  having  left  some  fine 
animal  pictures.  Rosa  began  to  exhibit  her  paintings  when 
she  was  only  nineteen  years  old.  This  does  not  seem  remark- 
able to  us  until  we  realize  that  it  was  over  sixty  years  ago, 
when  it  was  not  so  easy  as  it  is  now  for  a  woman  to  win 
recognition.  She  continued  to  paint  during  a  long  life,  dying 
in  May,  1899. 

One  very  interesting  thing  to  know  is  that  during  the 
Franco-Prussian  War  Rosa  Bonheur' s  residence  and  studio  in 
Paris  were  respected  by  order  of  the  Crown  Prince  of  Prussia. 
Another  fact  of  interest  is  that  she  founded,  in  1849,  ^  ^^ee 
school  of  design  for  young  girls  at  Paris,  and  was  director  of 
it  for  many  years.  This  means  much,  for  in  those  days  the 
privileges  of  girls  and  women  were  few,  especially  in  France. 

Rosa  Bonheur  received  many  medals  for  her  work,  was 
made  a  member  of  the  Antwerp  Academy  (1868),  received  the 
Leopold  Cross  (1880),  and  also  Commander's  Cross  of  the 
Royal  Order  of  Isabella  the  Catholic  (1880).  Is  it  not  sin- 
gular that,  excepting  a  rnedal  or  two,  all  of  the  honors  received 
by  her  were  bestowed  by  countries  other  than  her  own?  Her 
first  medal,  won  in  1848,  was  accompanied  by  a  valuable  vase 
of  Sevres  porcelain  presented  by  Horace  Vernet  on  behalf  of 
the  French  Government 

In  order  to  gain  admission  to  the  places  where  she  could 
study  the  animals  she  wished  to   paint,  she  was  forced  to  put 

When  was  ths  Franco-Prussian  War  ? 


18  ART    STUDIES    FOR    SCHOOLS 

on   man's   attire;    consequently  many  queer   stories — most  of 
them  exaggerated — have  been  told  of  her. 

She  was  so  absorbed  in  her  work  that  she  sometimes  actu- 
ally would  go  to  the  theatre  in  her  studio  jacket  daubed  with 
oil  paint.  But  the  people  knew  her  so  well  and  respected  her 
so  highly  that  such  trifles  passed  almost  unnoticed.  She  was 
kind,  benevolent,  honest  and  upright  in  character;  and  may 
be  counted  as  one  of  the  great  women  of  the  nineteenth 
century. 

Subject  II:  Morning"  in  the  Highlands 

Mademoiselle  Bonheur  was  an  intense  admirer  of  the  novels 
of  Sir  Walter  Scott,  and  was  led,  through  her  interest  in  them, 
to  visit  the  Highlands  of  his  native  country.  This  was  in 
1856,  and  soon  after  began  to  appear  her  beautiful  pictures 
commemorating  the  visit — among  them  "Morning  in  the  High- 
lands," showing  a  herd  of  fine  cattle  on  a  high  plateau,  with 
a  glimpse  of  one  of  the  lakes  for  which  Scotland  is  famous. 
Her  nature  was  in  harmony  with  the  rugged  character  of  the 
Scottish  peaks,  glens  and  wild  tarns,  and  this  enabled  her  to 
transcribe  their  weird  charm  to  canvas  with  a  sure  and  sympa- 
thetic hand. 

Her  strongest  points  were  keen  observation  and  retentive 
memory,  and  because  of  these  qualities  she  could  work  up 
paintings  long  after  she  had  been  on  the  scenes  depicted.  She 
regarded  Nature  (whose  loving  disciple  she  was)  as  "the  prob- 
lem which  more  than  any  other  elevates  our  soul,  and  enter- 
tains in  us  thoughts  of  justice,  of  goodness,  and  of  charity." 

Tell  something  of  Scotland,  and  name  the  principal  lakes  and  mountain 
peaks  of  the  country. 


$> 


20  ART    STUDIES    FOR    SCHOOLS 

Artist:  Jean  Francois  Millet 

Birthplace:  France 
Dates:  1814-1875 

Subject  I:     The  Shepherdess 

ONE  of  the  favorite  subjects  in  modern  art  is  sheep,  both 
because  of  their  own  picturesqueness  and  for  the  relig- 
ious symbolism  attaching  to  them  by  reason  of  their 
gentleness.  Pictures  of  sheep  and  shepherds  always  lead  the 
thoughts  to  the  One  who  was  called  "The  Tender  Shepherd," 
and  of  whom  it  was  said,  "He  shall  feed  his  flocks  like  a  shep- 
herd." 

The  painter  of  "The  Shepherdess"  was  Jean  Francois 
Millet — one  of  that  great  number  of  artists  who  have  been  so 
unfortunate  as  not  to  be  appreciated  during  their  lifetime. 
His  style  was  so  original  that  neither  critics  nor  public  at  first 
knew  what  to  make  of  it;  but  to-day  there  is  scarcely  a  home 
without  a  reproduction  of  at  least  one  of  Millet's  paintings. 

However  frequently  we  turn  to  the  works  of  this  artist, 
there  always  seems  to  be  something  new  to  learn  from  them. 
This  is  because  of  their  absolute  faithfulness  to  nature,  and  the 
sympathy  they  display  for  all  phases  of  life,  especially  the 
life  of  the  working  classes. 

Just  look  at  this  shepherd  girl,  who  seems  so  lonely  on 
the  wide  stretch  of  plain,  in  spite  of  her  sheep  and  her  dog. 
As  she  stands  there  knitting,  one  would  like  to  know  what  the 
thoughts  are  in  which  she  appears  lost. 

Millet  was  born  in  the  North  of  France,  in  a  little  hamlet 
(Gruchy)  perched  on  the  iron  cliffs  of  La  Hague,  overlooking 
the  waters  of  Cherbourg  roads.  He  was  the  eldest  son,  and 
worked  in  the  fields  with  his  father  till  he  was  eighteen  years 
old. 

Returning  home  from  the  fields  one  night,  he  made  such  a 
clever  charcoal  sketch  of  a  round-shouldered,  stooping  man 
he  had  passed  on  the  way,  that  his  father  immediately  advised 
him  to  go  to  Cherbourg  and  find  out  if  he  had  talent  enough 
to  make  his  living  by  the  art  he  loved  so  well. 

At  Cherbourg  people  were  astonished  by  his  skill  and  orig- 
inality, and  he  stayed  there  three  years  painting.      He  never 


The  Shepherdess — By  Jean  Francois  Millet 


22  ART    STUDIES    FOR    SCHOOLS 

had  a  teacher  in  the  usual  sense  of  the  word,  for  his  genius 
was  so  remarkable  that  no  one  had  the  courage  to  try  to  direct 
it.  Those  with  whom  he  worked  at  this  time  are  described  as 
watching  him  "with  the  astonishment  of  a  hen  who  has 
hatched  a  young  eagle." 

From  there  he  went  to  Paris  and  had  a  hard  enough  time, 
for  he  was  not  understood,  and  was  very  harshly  criticized  by 
several  leading  critics.  While  studying  in  Paris  he  was  glad 
to  paint  portraits  at  five  francs  apiece,  which  is  equivalent  to 
one  dollar  of  our  money.  And  when  he  could  not  sell  the 
beautiful  things  he  composed  and  painted,  he  was  not  too 
proud  to  make  signboards,  and  did  a  horse  for  a  veterinary 
surgeon,  a  sailor  for  a  sailmaker,  etc. 

He  finally  left  the  city  and  settled  at  Barbizon,  an  obscure 
French  village,  where  he  spent  the  rest  of  his  life,  devoted  to 
his  family  and  his  work.  Here  he  painted  scenes  illustrative 
of  the  peasant's  life  of  toil. 

Subject  II:  The  Gleaners 

"The  Gleaners"  is  considered  the  finest  of  all  Millet's  fine 
paintings,  and  is  owned  in  France,  where  it  hangs  in  that 
celebrated  gallery  called  the  Louvre.  It  represents  three 
humble  toilers  in  the  fields  eagerly  gathering  the  stray  spears 
of  grain  left  by  the  harvesters.  This  is  an  exceedingly  skilful 
composition — which  means  that  the  figures  of  the  peasants 
and  the  other  objects  in  the  picture  are  arranged  with  great 
artistic  ability,  according  to  the  rules  of  high  art.  If  the  figures 
of  the  three  women  had  been  close  together,  or  if  they  had  been 
scattered  in  a  row,  the  chief  beauty  of  the  scene  would  have 
been  lost.  Then  the  grain  wagon  so  near  the  clump  of  trees 
shows  ingenious  arrangement,  for  if  the  wagon  had  been  farther 
to  the  right  it  would  have  looked  like  a  lonely  dark  spot. 

And  what  suggestiveness  there  is  in  the  picture!  The  very 
attitude  of  the  three  women  with  their  bent  backs  suggests 
the  burden  of  the  life  they  lead.  The  outlines  are  bold  and 
strong;  they  tell  their  story  in  no  halting  language,  but  speak 
direct  to  the  heart.  This  particular  painting,  when  exhibited 
at  the  Paris  salon  in  1857,  stirred  up  much  controversy  about 
the  condition  of  the  working  classes. 


■3 


24  ART    STUDIES    FOR    SCHOOLS 

Indeed,  the  secret  of  many  of  the  harsK  things  said  about 
Millet's  work  was  that  it  called  the  attention  of  the  public  to 
the  wretched  state  in  which  the  French  Revolution  had  left 
the  peasantry.  The  tales  he  told  on  canvas  were  too  true  to 
suit  the  leaders  of  1848.  And  the  reason  they  were  told  with 
fidelity  and  sympathetic  feeling  was  that  he  had  lived  the  life 
he  depicted,  and  knew  its  every  phase.  He  maybe  truly  con- 
sidered the  peasant's  apostle. 

Subject  III :  The  Ang^elus 

Probably  of  all  Millet's  paintings  the  one  you  have  heard 
most  about,  and  have  seen  reproduced  most  frequently,  is  the 
one  called  "The  Angelus." 

These  peasants  are  busy  in  the  field  at  close  of  day,  when 
they  hear  the  distant  church  bells  ring  the  hour  of  evening 
prayer.  They  instantly  drop  pitchfork  and  basket,  and 
devoutly  bow  their  heads.  Could  anything  be  more  simple  than 
this  scene,  as  far  as  details  of  landscape  and  the  lines  of  the 
figures  are  concerned?  Yet  does  it  not  awaken  a  deep  respon- 
sive feeling  in  your  heart?  Do  you  not  seem  to  hear  the  bell 
that  hangs  in  the  church-tower  across  the  fields,  seen  in  the 
dim  evening  light?  If  any  one  place  seems  more  fitted  than 
another  for  the  heart  to  turn  devoutly  to  God  in  praise  and 
prayer,  it  is  some  quiet  spot  in  broad  fields,  in  deep  forests, 
on  lonely  mountain-sides,  or  on  the  illimitable  ocean.  It  is 
the  true  touch  of  sympathy  in  all  nature  that  makes  this 
picture  great. 

This  painting  was  brought  to  the  United  States  a  few  years 
ago  and  exhibited  in  many  of  the  large  cities.  An  American 
bought  it  for  a  very  large  sum  of  money — $120,000— but  later 
it  was  purchased  by  a  French  amateur  collector  who  gave 
$150,000  for  its  possession. 

Millet  felt  and  portrayed  all  the  glories  as  well  as  the 
tragedies  of  nature.  Unprejudiced  critics  who  examine  his 
works  "are  charmed  by  the  truth  of  them  into  forgetfulness 
of  their  method  of  manufacture."  And  this  is  the  height  of 
art.  One  English  critic  says:  "His  works  are  suggestive  of 
the  poetry  and  sentiment  of  Burns,  and  the  sympathetic  feeling 
for  nature  of  Wordsworth." 


The  Angklus — By  Jean  Francois  Millet 


26  ART    STUDIES    FOR    SCHOOLS 

Subject  IV :  The  Buttermaker 

The  picture  which  you  see  reproduced  on  the  opposite  page, 
sometimes  called  "The  Woman  with  the  Churn,"  is  more 
generally  known  as  "The  But<-ermaker."  It  is  among  the 
most  familiar  of  Millet's  paintings  and  is  now  owned  in  Boston. 

It  is  sad  to  know  that  many  of  the  persons  who  decried  his 
work,  and  tried  to  prejudice  public  sentiment  against  it, 
bought  up  a  number  of  his  pictures  for  miserably  small  prices, 
knowing  that  they  could  sell  them  for  large  sums  later.  One 
exception  to  this  behavior  is  the  case  of  our  own  American 
artist,  William  Morris  Hunt,  who  was  such  an  admirer  of 
Millet  that  he  settled  at  Barbizon  for  several  years,  in  order 
to  study  the  man  and  his  work.  He  bought,  in  1853,  two  of 
Millet's  paintings — "The  Sheep  Shearer"  and  "The  Shep- 
herd." Two  other  American  gentlemen  purchased  paintings 
at  this  time,  somewhat  relieving  the  artist's  poverty. 


The  Buttermaker — By  Jean  Francois  Millet 


28  ART    STUDIES    FOR    SCHOOLS 


Artist :  Louis  Emile  Adan 

Birthplace:  France 

Dates :  1839- 

Subject:  The  Haymaker 

LOUIS  EMILE  ADAN  was  born  in  1839,  in  Paris,  and  has 
a  studio  there  now.  He  has  received  several  medals  for 
his  work. 

"The  Haymaker,"  by  him,  is  one  of  those  nature  pictures 
in  which  man  and  out-of-door  life  blend  so  harmoniously  that 
it  gives  one  an  indescribable  sense  of  pleasure  to  see  them. 
One  thinks  involuntarily  that  the  artist  must  be  one  of  those 
who  find   "sermons  in  stones." 

How  the  figure  of  the  girl  stands  out  against  the  rich,  dark 
background  of  trees,  and  how  the  soft  outlines  of  the  hay-heap 
contrast  with  the  rigid  pine  trunks!  How  the  moment's  rest — 
while  she  adjusts  her  girdle — suggests  the  busy  motions  when 
she  plies  her  rake!  And  the  sweet  head  and  face  of  this 
peasant  girl — so  simple,  so  pure  in  outline — really  do  one  good 
just  to  look  at. 

Notice  how  light  masses  rest  against  dark  ones,  and  dark 
masses,  like  the  girl's  skirt,  against  lighter  portions,  as  the 
ground  and  the  hay.  This  is  because  contrast  is  essential  to 
the  pleasing  effect  of  a  picture.  The  parts  of  the  main  figure 
are  thus  "thrown  into  relief,"  as  the  technical  phrase  is,  mean- 
ing that  the  figure  stands  out  and  looks  as  though  one  could 
walk  around  it. 

Then  the  soft  curves  of  the  head  and  face  contrast  with  the 
severe  lines  of  the  rake,  while  those  of  the  hay  present  a 
strong  contrast  to  the  tree  trunks.  Those  who  look  upon  pic- 
tures unthinkingly,  little  realize  that  the  effect  which  pleases 
them  so  much  is  due  to  the  observance  of  features  as  simple 
as  those  suggested. 

Finish  the  quotation  begun  above:   "Sermons  in  stones,"  etc. 


I 


^ 


The  Haymaker— Zf>'  L.   Emile  A  dan 


30  ART    STUDIES    FOR    SCHOOLS 


Artist:  Jean  Henri  Zuber 

Birthplace :  France 

Dates :  1844- 

Subject:  September 

*TN   THE  Temperate   Zone,    where  we   live,    there   is   great 

X       variety  of  climate,  and  while   some  persons  complain  of 

our    summer    heat    and  winter  cold,    surely   it    is    more 

interesting,  and  comfortable,  too,  to  have  it  as  it  is  than  always 

hot,  as  in  India,  or  always  bitterly  cold,  as  in  Lapland. 

We  have  the  soft,  mild  days  of  spring,  when  the  tender 
buds  burst  into  leaf  on  shrub  and  tree;  the  full,  warm  sun  of 
summer,  that  ripens  the  grain  and  fruits;  and  the  rich  colors 
of  autumn,  when  the  air  is  laden  with  perfume  of  gathered 
harvests.  The  cattle  browse  lazily  under  the  trees,  as  in  this 
picture,  where  the  shade  is  cool  and  refreshing;  and  Nature 
seems  resting  after  putting  forth  all  her  strength  to  provide 
winter  supplies  for  the  children  of  men.  I  do  not  doubt  many 
of  you  have  been  in  beautiful  country  places,  but  probably 
not  often  where  there  are  trees  so  large  as  those  in  this  picture, 
and  casting  so  dense  a  shade. 

Did  you  ever  think  what  a  vast  amount  of  meaning  there 
is  in  a  tree?  It  was  once  a  seed  in  the  dark  ground,  and  its 
nature  bade  it  struggle  upward  toward  the  light.  Then  it 
rejoiced  in  the  sun  and  air  and  dew  and  rain;  it  struck  firm 
root  and  bore  the  lashings  of  stormy  blasts;  it  bravely  with-" 
stood  winter  frosts,  and  grew  always  higher  and  higher  toward 
the  sky.  A  tree  represents  courage,  patience,  trust  and  faith- 
fulness, perseverance  and  protection;  the  little  birds  nestle  in 
its  branches  and  sing;  its  cool  shade  refreshes  man  and  beast. 
And  yet  the  axe  of  man  can  with  a  few  blows  destroy  this 
slow  and  beautiful  growth  of  years.  Children,  never  let  a 
tree  be  destroyed  if  you  can  prevent  it,  unless  absolutely 
necessary  for  the  good  of  mankind. 

The  man  who  painted  this  picture  was  born  in  Rixheim, 
Alsace,  in  1844.  He  is  well  known  as  a  landscape  painter,  and 
in  1886  received  the  decoration  of  the  Legion  of  Honor. 

Tell  something  of  life  in  India;  in  Lapland.     Where  is  Alsace  ? 


September — By  /«an  Henri  Zuber 


3-2  ART    STUDIES    FOR    SCHOOLS 


Artist:  Jules  Adolphe  Breton 

Birthplace:  France 

Dates:  1827- 

Subject  I:  The  Vintagers 

MANY  autumn  industries  have  been  the  subject  of  pictures 
by  the  best  artists,  such  as  the  gathering  in  of  the  har- 
vest, sheep  shearing,  driving  animals  to  country  fairs, 
etc.  Among  the  latter  is  that  famous  picture  by  Rosa 
Bonheur — "The  Horse  Fair" — about  which  we  have  already 
studied.  In  the  picture  reproduced  on  the  opposite  page  we 
see  another  autumn  industry,  which  is  quite  a  feature  of 
French  life,  depicted  by  Jules  Breton. 

This  artist  was  born  at  Courrieres,  in  1827,  and  is  cele- 
brated for  his  pictures  of  peasant  life,  which  are  full  of  sym- 
pathy and  a  pathetic  realism.  He  has  received  many  medals 
for  his  work,  among  them  a  medal  of  honor  at  the  Salon  of 
1872.  In  1886  he  was  made  a  member  of  the  French  Institute 
and  was  appointed  a  Commander  of  the  Legion  of  Honor  in 
1889.  Many  of  his  best  works  are  owned  in  the  United  States, 
and  you  may  have  seen  some  of  them.  To  see  the  original 
of  a  painting  is  better  than  looking  at  the  finest  photographic 
reproduction  ever  made. 

"The  Vintagers"  shows  a  group  of  young  women  who 
have  been  gathering  grapes  from  the  vineyard,  and  are  carry- 
ing them  to  the  winepress,  where  they  will  be  made  into  wine. 
How  admirable  are  the  well  poised  figures  and  the  strong, 
sweet  faces,  which  work  in  the  open  air  is  so  apt  to  bring! 

Notice  their  peculiar  wooden  shoes.  One  would  think 
they  must  be  very  uncomfortable,  but  they  are  worn  by  most 
of  the  peasants  in  European  countries.  Do  you  remember 
those  worn  by  the  little  girl  whose  picture  we  saw  on  page  ii  ? 
They  were  unlike  these  in  shape,  as  she  lived  in  a  different 
country  from  these  young  women.  In  France  such  shoes  are 
called  sabots. 


The  VwTKG¥.KS—ByJuUs  Adoiphe  Breton 


34  ART    STUDIES    FOR    SCHOOLS 

Subject  II:  The  Lark 

There  is  no  artist  whose  pictures  of  fresh,  vigorous,  out-of- 
door  life  in  the  country  have  more  charm  than  Jules  Bre- 
ton's. What  could  be  more  eloquent  than  the  little  scene 
shown  here?  It  is  called  "The  Lark,"  and  the  joyous  expres- 
sion on  the  face  of  the  crude  peasant  girl,  and  her  parted  lips 
as  she  gazes  up  into  the  sky,  tell  us  the  bird  must  be  pouring 
out  his  exquisite  song  of  praise  to  the  morning  sun  and  the 
Maker  of  all  this  glory.  Behind  the  hamlet,  at  the  edge  of 
the  field,  you  see  the  rising  sun,  and  know  that  a  busy  day  is 
just  beginning  for  the  girl  who  comes  with  her  sickle  in  hand 
to  the  fields.  How  strong  and  hearty  she  looks!  Out-of- 
door  life  has  kept  her  well  and  cheerful  and  appreciative  of 
the  beautiful  in  nature.  We  are  sure  of  this,  else  she  would 
not  look  so  joyous  over  the  lark's  song.  And  do  you  not 
think  there  is  an  expression  on  her  face  such  as  people  are 
apt  to  wear  when  they  meet  or  listen  to  a  friend? 

The  general  expression  of  this  picture  is  one  of  strength 
and  joyousness.  The  thought  of  joy  goes  so  naturally  with 
that  of  song!  But  the  look  of  strength  is  very  marked,  not 
only  in  the  girl's  sturdy  figure,  but  in  the  very  character  of  the 
rough  ground,  with  its  well-defined  shadows,  over  which  she 
has  been  stepping  so  briskly.  And  another  suggestion  of 
strength  is  the  bird  itself  with  its  power  of  soaring  so  high  in 
air  that  we  say  it  "soars  to  the  sun." 

There  are  two  very  beautiful  poems  about  the  lark — "Hark, 
Hark,  the  Lark,"  by  Shakespere,  and  "To  a  Skylark,"  by 
Shelley — which  you  should  read.  You  would  be  sure  to  enjoy 
them. 


The  Lark — By  Jules  Adolphe  Breton 


36  ART    STUDIES    FOR    SCHOOLS 

Subject  III:  A  Sifter  of  Colza 

This  wonderfully  strong  and  effective  harvest  scene  by 
Jules  Breton  is  destined  to  become  a  classic,  for  the  compo- 
sition and  treatment  of  line  and  of  light  and  shade  are  unsur- 
passed. There  are  no  violent  contrasts,  yet  the  figure  stands 
out  boldly,  and  if  any  one  sentiment  more  than  another  is 
inspired  in  us  by  contemplating  the  picture,  it  is  the  thought  of 
"the  dignity  of  labor."  Notice  the  sky-line  (Breton  excels  in 
beautiful  sky-lines),  the  masses  of  light  and  dark,  and  the  dis- 
tance effect  so  well  carried  out  in  the  figures  of  the  three  men. 

One  very  noticeable  thing  about  the  main  lines  of  the  objects 
in  the  foreground  is  their  subtlety.  Look  carefully  at  the 
sifter,  at  her  sieve  and  at  the  bags  of  grain  just  beyond  the 
sifter  at  the  left  of  the  picture;  the  figure  of  the  sifter  is 
upright,  one  would  say  vertical  after  a  hasty  glance,  but  a  care- 
ful look  shows  us  the  slight  tilt  backward  of  her  figure,  which 
changes  the  main  line  from  vertical  to  oblique  Then  again, 
the  first  quick  glance  shows  a  sieve  horizontally  held,  but  that 
careful  look  proves  it  to  be  tilted  upward  slightly  into  an 
oblique  position.  There  is  great  charm  added  to  a  picture  by 
such  subtle  touches.  Then  the  contrast  between  the  soft  lines 
and  masses  of  the  grain  bags  and  the  rigid  lines  of  the  sieve  is 
an  excellent  addition  to  the  expression  of  the  composition. 

The  pose  of  this  girl  suggests  the  unconscious  pride  that 
fills  every  honest  laborer's  heart,  for  there  is  nothing  that 
keeps  the  nature  wholesome  and  sweet  and  dignified  like  hon- 
est work  of  some  sort.  It  does  not  need  to  be  manual  labor, 
neither  must  it  be  mental  labor,  to  win  respect;  for  the  sim- 
plest task  well  done  becomes  a  perfect  thing  of  its  kind. 


A  Sifter  of  Co\.zk—By/uUs  Adolphe  Breton 


38  ART    STUDIES    FOR    SCHOOLS 

Artist:  Rembrandt  van  Ryn 

Birthplace :  Holland 

Dates:  1607-1669 

Subject:  The  Mill 

REMBRANDT  VAN  RYN  painted  "The  Mill,"  repro- 
duced here.  It  shows  a  windmill  such  as  is  to  be 
found  in  many  European  countries,  where  they  do  not 
have  all  the  fine  machinery  for  making  work  easy  that  we 
have  in  the  United  States. 

See  the  bold  treatment  of  the  clouds,  and  of  that  cliff  on 
which  the  mill  stands.  One  seems  to  see  also  a  blaze  of  sun- 
light on  the  blades  of  the  wheel,  as  they  stand  out  against  the 
dark  clouds  rolling  overhead.  This  picture  makes  one  think 
of  a  very  crisp,  cool  autumn  day. 

The  date  of  Rembrandt's  birth  is  a  memorable  one  on  this 
side  of  the  Atlantic  Ocean — 1607. 

Many  persons  think  the  word  "Rembrandt,"  which  is 
generally  used  to  designate  this  artist,  is  his  family  name, 
van  Ryn  meaning  "of  the  Rhine."  But  his  surname  was 
Harmenszoon,  or  "son  of  Harmen,"  his  father's  first  name 
being  Harmen.  So  Rembrandt  was  his  own  Christian  name, 
just  as  yours  may  be  George  or  Mary.  It  is  surely  a  great 
mark  of  distinction  to  be  known  through  all  ages  by  one's 
Christian  name  alone  !  There  may  have  been  other  men  called 
Rembrandt,  Raphael,  Guido,  Leonardo,  but  to  the  world 
there  is  but  one  man  brought  to  mind  when  each  name  is 
mentioned. 

Rembrandt  was  celebrated  for  his  effects  of  light  and  shade, 
which  are  technically  termed  "chiaro-oscuro" — a  very  queer 
word,  for,  translated,  it  means  "light-dark." 

Some  writers  have  claimed  that  this  artist  was  born  in  the 
very  mill  shown  here;  but  though  it  did  belong  to  his  grand- 
mother for  a  time,  he  was  not  born  there.  His  family  was 
prosperous  and  owned  several  houses.  It  was  in  one  of  these — 
a  very  comfortable  house  in  what  we  should  call  West  Street, 
in  the  city  of  Leyden,  Holland— that  he  was  born.  I  do  not 
doubt  that  Rembrandt,  with  his  strong  inclination  to  study 
the  effects  of  light  and   shade   under  peculiar  circumstances. 


r 


The  Mill — By  Rembrandt  van  Ryn 


40  ART    STUDIES    FOR    SCHOOLS 

studied  tRem  in  this  old  mill,  but  his  wonderful  chiaroscuro 
effects  are  certainly  not  due  to  his  having  lived  there,  as  has 
been  asserted. 

Rembrandt  is  called  the  "Frince  of  Etchers."  He  tried 
many  new  effects  in  this  kind  of  work,  and  produced  some 
very  original  results. 

His  first  wife  was  a  beautiful  woman  of  considerable  wealth, 
and  as  he  made  many  portraits  of  himself  and  of  her,  we  have 
an  excellent  idea  of  the  appearance  of  both  of  them. 

What  event  in  United  States  history  does  1607  suggest? 


Artist:  Louis  Aime  Japy 

Birthplace :   Switzerland 
Dates :  Contemporaneous 

Subject:        A  September  Evening: 

THIS  exquisite  picture,  called  "A  September  Evening," 
is  one  of  those  said  to  be  full  of  "poetic  feeling."  The 
artist  who  painted  it,  Louis  Aime  Japy,  was  born  in  Berne, 
Switzerland. 

A  good  artist  never  puts  the  principal  object  right  in  the 
middle  of  .the  picture.  So  the  clump  of  trees  is  a  little  to  the 
left,  while  the  flock  of  sheep  is  massed  to  the  right.  Although 
the  horizon  line  is  about  halfway  from  top  to  bottom  of  the 
picture  (a  thing  to  be  avoided,  if  possible),  that  beautiful 
wooded  bank  in  the  distance,  to  the  left,  relieves  the  harsh- 
ness that  would  have  appeared  if  the  sky-line  had  been 
unbroken. 

This  is  one  of  the  most  peaceful,  idyllic  scenes  that  could 
be  imagined,  and  cannot  fail  to  bring  beautiful  thoughts.  We 
feel  very  sure  that  the  artist  deserves  the  various  medals  that 
have  been  awarded  him.  Two  of  his  paintings  are  in  the 
Corcoran  Art  Gallery  in  Washington,  and  you  must  certainly 
look  them  up  if  you  ever  visit  that  city. 

Point  out  the  most  famous  natural  objects  in  Switzerland. 


A  September  Evening—^/  Louis  Aivie  Japy 


42  ART    vSTUDIES    FOR    SCHOOLS 

Artist :  Georg-e  Henry  Boug-hton 

Birthplace :   England 

Dates :  1834- 

Subject  I:     Pilg-rims  Going*  to  Church 

GEORGE  HENRY  BOUGHTON  is  an  artist  who  paints 
with  sympathy  and  tenderness  scenes  from  the  life  of 
the  early  Puritans  in  this  country,  and  of  the  Dutch 
settlers  in  New  York,  called  Knickerbockers.  He  was  born 
in  England  in  1834,  but  his  parents  came  to  this  country  when 
he  was  only  three  years  old,  settling  in  i\lbany. 

At  an  early  age  Boughton  began  to  study  art,  without  a 
teacher.  When  about  nineteen  years  old  he  made  a  sketching 
tour  of  Great  Britain.  In  1858  he  moved  to  New  York.  Two 
years  later  he  went  to  Paris,  then  to  London,  which  latter  city 
he  has  made  his  home  since  i85i. 

This  artist's  work  is  very  popular  in  England  as  well  as  in 
our  own  country,  and  you  have  probably  seen  engravings  of 
several  of  his  paintings.  One  of  the  best  known  is  his 
"Pilgrims  Going  to  Church." 

You  have  all  heard  of  Plymouth  Rock,  and  perhaps  some 
of  you  have  wondered  why  a  rock  should  be  so  famous.  Some 
of  you  have  heard  why  from  your  parents,  I  do  not  doubt, 
because  they  are  proud  of  their  forefathers  who  had  something 
particular  to  do  with  Plymouth  Rock.  Others  among  you  may 
have  read  that  fine  poem  by  Mrs.  Felicia  Hemans,  called 
"The  Pilgrim  Fathers,"  and  thus  have  had  impressed  upon 
your  minds  the  event  connected  with  that  rock. 

It  was  indeed  a  great  day  for  our  country  when  a  small, 
weather-beaten  boat,  called  the  Mayflower,  came  sailing 
across  Massachusetts  Bay,  from  the  direction  of  Cape  Cod, 
and  a  brave  band  of  Puritans  landed  at  the  place  ever  since 
known  as  Plymouth,  after  a  wearisome  voyage  on  the  stormy, 
wintry  ocean  and  a  short  rest  in  Provincetown  Harbor. 

They  were  pilgrims  of  the  deep,  seeking  a  place  in  which 
to  worship  God  in  the  way  that  seemed  right  to  them,  and 
ever  since  their  memorable  voyage  and  safe  landing  on  the 

Read  passages  from  "The  Courtship  of  Miles  Standish." 


8 

^ 

■« 

^ 

^ 


44  ART    STUDIES    FOR   SCHOOLS 

rock  at  Plymouth  they  have  been  called  the  Pilgrim  Fathers. 
And  there  were  Pilgrim  Mothers  among  them;  yes,  and  little 
children,  too.  One  child  was  born  at  sea,  and  so  was  called 
Oceanus,  from  his  birthplace.  Oceanus  belonged  to  the 
Hopkins  family,  and  one  of  his  descendants  was  a  signer  of 
the  famous  Declaration  of  Independence. 

Many  trials  had  to  be  endured  and  many  hardships 
suffered  by  these  Pilgrim  Fathers  before  the  country  began  to 
be  really  settled,  and  they  could  feel  as  though  they  had  a 
permanent  home  on  this  side  of  the  Atlantic. 

Among  their  principal  trials  were  the  attacks  from  the 
red  men  whom  they  found  living  here,  and  who  had  been 
named  by  Columbus  nearly  one  hundred  and  fifty  years  before. 
When  he  came  h^re  from  Spain  and  found  a  land  inhabited  by 
savage  tribes  he  thought  he  had  reached  India,  and  so  called 
the  people  Indians. 

As  we  see  in  the  picture,  even  when  the  Pilgrims  went  to 
church  they  were  obliged  to  carry  their  guns,  for  they  did  not 
know  at  what  moment  the  fierce  red  men  might  make  a  raid 
upon  their  settlement. 

Subject  11:  Pilg'rim  Exiles 

This  beautiful  and  touching  picture  is  one  of  the  most 
admired  of  Boughton's  works.  It  shows  three  of  the  early 
settlers  watching  for  the  provision  ship  from  England.  One 
can  easily  read  the  thoughts  expressed  in  the  sad  faces;  what 
do  you  suppose  those  thoughts  are?  It  is  not  hard  to  under- 
stand why  the  pictures  of  this  artist  are  so  popular;  there 
is  always  something  about  them  that  touches  the  heart,  and 
true  feeling  is  sure  to  be  appreciated  and  respected. 

The  fact  that  Boughton's  work  is  valued  rightly  is  proved 
by  the  honors  that  have  been  conferred  upon  him.  He  was 
made  a  National  Academician  in  1871,  and  an  Associate  of  the 
Royal  Academy  in  London  in  1879. 


Pilgrim  Exiles — Bf  G.  H.  Boug/iton 


4G  ART    STUDIES    FOR    SCHOOLS 

Artist :  A.  W.  Bayes  ^ 

Birthplace:  United  States 

Dates :  Contemporary 

Subject:  Departure  of  the  Mayflower 

ANOTHER  great  hardship  endured  by  the  Pilgrim  Fathers 
during  the  fxrst  winter  and  spring  was  lack  of  food. 
One  can  easily  understand  that  when  they  took  in  a 
fine  harvest  the  first  autumn — that  is,  in  162 1 — they  were  filled 
with  thanksgiving  to  God  for  His  goodness  and  protection; 
so  they  set  apart  a  time  for  prayer  and  for  feasting.  They 
did  not  forget  those  Indians  who  had  been  kind  to  them, 
so  they  invited  the  .great  chief  Massasoit  and  ninety  of 
his  men  to  their  feast,  and  entertained  them  three  days. 
They  had  many  good  things  to  eat,  and  among  these  wild  tur- 
keys played  a  prominent  part.  It  is  for  this  reason  that 
turkeys  have  been  considered  the  proper  thing  for  Thanksgiv- 
ing dinner  ever  since.  And  is  it  not  a  beautiful  custom  to 
repeat  every  year  that  day  of  thanks  for  a  good  harvest? 

The  story  of  the  Pilgrims  is  so  interesting  that  it  is  to  be 
hoped  all  will  read  it  carefully.  It  will  then  be  seen  why 
the  small  band  should  feel  so  sad  when  the  Mayflower  left 
them   in  the  spring,  to  sail  back  to  England. 

With  the  departure  of  the  vessel  they  were  cut  off  from  all 
connection  with  their  dear  mother  country,  England,  which 
they  felt  sure  most  of  them  would  never  see  again.  In  fact, 
nearly  half  of  the  original  one  hundred  and  two  persons  had 
died  during  the  first  winter,  because  they  were  so  poorly 
provided  with  protection  against  the  severe  climate,  and 
because  there  was  not  proper  food  for  them.  What  those 
brave  men  and  women  endured  for  the  sake  of  principle 
entitles  them  to  all  the  reverential  homage  that  has  been  paid 
to  them  by  their  descendants.  When  you  ire  older,  you  will 
appreciate  the  great  value  to  us  of  what  they  patiently  endured. 


^ 

^ 

^i^ 


^ 


48  ART    STUDIES   FOR   SCHOOLS 

Artist :      Unknown 

Subject :  John  Wesley  Preaching  to  the  Indians 

VERY  early  in  the  history  of  this  country  pious  men  began 
to  preach  to  the  Indians  and  to  tell  them  of  God's 
love  and  goodness,  in  order  to  soften  their  hearts  and 
take  away  the  desire  for  revenge  and  killing. 

The  greatest  early  preacher  or  apostle  to  the  Indians  was 
John  Eliot.  Later,  John  Wesley  preached  to  them  and  con- 
verted many.  John  Eliot  translated  the  Bible  into  the  Indian 
language  for  the  benefit  of  those  he  had  converted.  This  pic- 
ture represents  Wesley  preaching  to  the  Indians;  and  you 
can  get  a  good  idea  of  the  way  they  decorated  themselves 
with  feathers  of  eagles  or  turkeys,  with  skins  of  wild  beasts, 
with  bracelets,  wampum,  etc.  One  of  the  chiefs  sits  smoking 
"the  pipe  of  peace."  At  important  councils  held  between  the 
settlers  and  Indians,  if  the  latter  were  in  a  friendly  mood  this 
pipe  would  be  passed  around,  and  every  one  of  the  company, 
white  men  as  well  as  Indians,  must  take  a  puff  at  it. 

Wampum  was  made  of  parts  of  shells  and  was  used  as 
money  by  the  Indians,  who  prized  it  very  highly.  The  first 
settlers,  therefore,  bought  their  lands  in  what  seems  to  us  a 
very  easy  manner;  but  they  did  not  mean  to  cheat  the  Indians, 
and  they  gave  them  what  the  red  men  prized.  Besides,  it 
required  much  work  to  cut  out  the  purple  and  the  white  parts 
of  the  quahog  shell,  polish  them,  and  drill  holes  in  them  so 
the  Indians  could  string  them  on  thin  strips  of  hide.  Labor  is 
always  an  equivalent  for  money,  and  should  be  paid  for. 


John  Wesley  Preaching  to  the  Indians — Artist  Unk?ioii)n 


50  ART    STUDIES    FOR    SCHOOLS 

Artist:  John  Gadsby  Chapman 

Birthplace:  United  States 

Dates:  1808-1889 

Subject:  Baptism  of  Pocahontas 

WHEN  you  read  about  the  Indians  who  dealt  with  the 
earliest  English  settlers  in  Virginia  you  will  find  the 
beautiful  story  of  how  Pocahontas  saved  the  life  of 
Captain  John  Smith.  She  was  an  Indian  princess  who  became 
a  Christian  and  married  an  Englishman  named  Rolfe.  She 
went  to  England  after  her  marriage  and  received  much  atten- 
tion, as  a  person  with  such  a  noble  spirit  deserved. 

The  picture  shows  the  baptism  of  Pocahontas,  which,  we 
may  be  sure,  had  a  great  effect  on  the  Indians  of  the  tribe  of 
her  father,  the  great  chief  Powhatan.  The  original  painting 
is  in  the  Capitol  at  Washington.  (Capitol,  you  know,  is  the 
name  of  the  building  where  Congress  meets  and  where  the 
laws  governing  our  country  are  made.  The  walls  of  this 
building  are  decorated  with  many  fine  paintings  representing 
scenes  in  the  history  of  the  United  States.) 

John  Gadsby  Chapman,  who  painted  this  picture,  was  born 
in  Alexandria,  Virginia,  in  1808,  and  at  an  early  age  showed 
his  artistic  talent.  He  studied  for  some  time  in  Italy;  then 
returned  to  the  United  States.  Here  he  painted  in  New  York 
and  other  cities,  and  was  very  successful  as  a  teacher  of  wood- 
engraving,  in  which  branch  of  art  he  was  most  efficient.  In 
1848  he  went  back  to  Italy,  where  he  spent  the  remainder  of 
his  life,  having  his  studio  in  Rome. 

Besides  being  a  fine  painter,  wood-engraver  and  etcher. 
Chapman  illustrated  a  number  of  books,  and  was  the  author  of 
a  drawing  book  which  is  said  to  be  one  of  the  best  of  its  kind 
ever  published  in  English. 


Baptism  of  Pocahontas—//)'  John  G.   Chapman 


52  ART    STUDIES    FOR    SCHOOLS 

Artist:  Giovanni  Cenni  Cimabue 

Birthplace:  Italy 
Dates:  1240-1302 

Subject:        Madonna  Enthroned 

ONE  of  the  most  beautiful  figures  in  art  is  the  Madonna, 
or  "Our  Lady,"  as  she  is  called  in  the  Roman  Catholic 
Church. 
This  representation  of  the  mother  of  our  Saviour  is  perhaps 
of  more  frequent  occurrence  than  any  other  in  all  the  schools 
of  art,  during  all  ages,  in  all  lands,  and  irrespective  of  the 
religious  belief  of  the  artist.  This  is  because  it  is  the  most 
lofty  and  appealing  type  of  motherhood  that  history  reveals 
to  us.  From  the  earliest  times,  the  higher  qualities  of  woman 
were  embodied  and  worshiped  in  goddesses;  there  was  Isis  of 
the  Egyptians,  Astarte  of  the  x^ssyrians,  Freya  of  the  Scythians 
and  of  Scandinavian  mythology,  and  Aphrodite  of  the  Greeks, 
but  it  remained  for  the  Virgin  Mary  to  combine  all  the  quali- 
ties venerated  in  these  types.  It  is  the  idea  lying  behind  all 
art  representations  that  we  must  try  to  gain,  and  in  this  case 
one  can  see  it  is  tenderness,  purity,  humility,  fortitude,  and 
self-sacrifice,  as  well  as  grace  and  beauty,  that  are  the  objects 
of  reverence. 

At  first  the  pictures  of  the  Madonna  and  Child  were  used 
as  religious  symbols,  instead  of  decorations,  as  was  afterward 
the  case.  All  early  religions  were  full  of  symbols,  especially 
the  Christian  religion,  as  the  first  Christians  were  opposed  to 
making  a  picture  of  anything  for  its  mere  beauty,  as  the 
pagans  had  done.  The  circle  represented  eternity,  the  tri- 
angle and  trefoil  the  Trinity,  the  quatrefoil  the  four  evangelists, 
the  fishes  Christ  Himself,  the  dove  the  Holy  Ghost,  and  so  on. 
This  custom  caused  the  first  painted  Madonnas  to  be  very 
stiff  and  cold  representations.  In  fact,  they  looked  what  we 
should  call  "wooden."  You  can  understand  this  when  I  tell 
you  that  the  "Madonna  Enthroned"  by  Cimabue  was  hailed 
with  such  delight  by  the  Italian  people  because  of  its  grace 
and  beauty,  as  compared  with  what  had  been  produced  before 
it,  that  they  danced  in  the  streets  and  shouted  for  joy  when  it 
was  uncovered  before  them.     And  yet  so  great  has  been  the 


Madonna  Emhroned — By  Cimabue 


54  ART    STUDIES    FOR    SCHOOLS 

improvement  made  since  m  the  technical  part  of  painting 
— that  is,  in  making  things  look  natural  in  shape  and  color — 
that  this  Madonna  of  Cimabue  seems  to  us  crude  and  hard. 
We  must  not  forget,  however,  that  there  is  something  deeper 
and  grander  to  be  reached  in  art  than  correct  shapes  and 
colors — that  is,  the  spirit  of  the  picture,  the  meaning,  the 
expression,  the  lesson  taught. 

At  the  time  when  Giovanni  Cenni  (called  Cimabue)  was 
born — about  A.D.  1240,  in  Florence,  Italy — there  was  a  great 
deal  of  deep  religious  fervor  among  the  people,  and  this 
sentiment  became  the  most  noticeable  thing  about  the  paintings 
of  the  early  masters.  In  spite  of  all  we  call  progress,  no 
modern  artist  has  ever  been  able  to  put  so  much  true  devotional 
feeling  into  his  pictures  as  did  these  founders  of  the  earlier 
schools  of  painting. 

Cimabue  is  often  called  the  restorer  of  painting  in  modern 
times,  and  the  title  of  Father  of  Modern  Painting  has  been 
bestowed  upon  him  But  though  he  carried  the  art  farther 
than  his  predecessors,  and  adopted  a  gayer  and  more  natural 
scheme  of  color,  he  was  only  one  of  a  number  of  painters  who 
were  affected  by  the  general  intellectual  and  political  awaken- 
ing of  Italy  in  the  thirteenth  century. 

Although  he  lived  and  painted  so  long  ago,  there  are 
remains  of  his  work  still  to  be  seen  in  the  Upper  Church  of 
San  Francesco  at  Assisi,  and  the  "Madonna  Enthroned"  is  in 
the  church  of  Santa  Maria  Novella  in  Florence.  There  are 
Madonnas  of  his  in  the  galleries  in  Florence,  in  the  Louvre  in 
Paris,  and  in  the  National  Gallery,  London. 


A  Madonna — By  Cimabue 


56  ART    STUDIES    FOR    SCHOOLS 


Artist:  Leonardo  da  Vinci 

Birthplace:  Italy 

Dates :  1452-1519 

Subject:  Madonna  of  the  Lily 

ABOUT  the  middle  of  the  fifteenth  century  there  arose  one 
whose  works  not  only  surpassed  all  that  preceded  them, 
but  have  been  a  model  for  imitation  ever  since,  and  in 
many  ways  stand  unrivaled  to-day.  This  artist  was  Leonardo 
da  Vinci,  who  was  born  in  Italy  in  1452,  and  became  the  friend 
of  all  the  great  men  of  his  day,  such  as  Raphael,  Michael 
Angelo,  and  Savonarola. 

Da  Vinci  is  thought  by  many  persons  to  have  been  the 
greatest  genius  that  ever  lived,  for  he  had  equal  talent  for 
painting,  sculpture,  poetry,  music,  science,  as  an  inventor 
and  as  a  diplomatist.  His  paintings  are  very  numerous,  and 
all  may  learn  their  beauty  through  the  many  excellent  engrav- 
ings and  other  reproductions  of  them.  The  most  celebrated 
one  is  the  "Last  Supper"  of  our  Saviour  with  His  disciples. 

The  example  given  here  of  a  Madonna  and  Child  by 
Leonardo  speaks  for  itself,  in  its  wonderful  grace  and  beauty, 
its  lofty  devotional  expression,  and  its  faithfulness  to  nature. 

The  greatest  poets  of  all  ages  and  countries  have  made  the 
Madonna  the  theme  for  their  inspired  verse.  Dante  in  the 
thirteenth  century,  in  Italy,  gave  the  strongest  impulse  to 
modern  art.  His  imaginative  description  of  the  character  and 
appearance  of  the  Virgin  Mary  served  as  a  model  for  Giotto — 
who  was  the  next  great  painter  following  Cimabue — and  for 
many  other  artists.  Then  Chaucer,  the  earliest  English  poet, 
both  wrote  and  translated  verses  on  the  Madonna.  Petrarch, 
Milton,  Wordsworth,  Shelley,  and  Browning,  all  have  written 
inspiring  verses  of  this  kind.  Here  is  a  short  bit  from 
Browning: 

There  is  a  vision  in  the  heart  of  each 

Of  justice,  mercy,  wisdom,  tenderness 

To  wrong  and  pain,  and  knowledge  of  their  cure; 

And  these  embodied  in  a  woman's  form, 

That  best  transmits  them  pure  as  first  received 

From  God  above  her  to  mankind  below! 


I 


Madonna  of  the  Lily— /?y  Leonardo  da    Vinci 


58  ART    STUDIES    FOR    SCHOOLS 

Artist:"  Hans  Memling*  "^ 

Birthplace :  Germany,  or  Flanders 

Dates:  1425-50—1492-5 

Subject:  Madonna  and  Child 

HERE  is  a  Madonna  and  Child  by  an  artist  about  whose 
early  history  very  little  is  positively  known.  Some 
writers  give  1425  as  the  date  of  his  birth,  while  others 
place  it  as  late  as  1450,  and  it  has  never  been  quite  settled 
whether  he  was  horn  in  Germany  or  Flanders.  It  is  certain, 
however,  that  in  Flanders  he  painted  most  of  his  pictures  — 
historical  subjects  and  portraits  —  and  authorities  agree  in 
naming  him  the  most  distinguished  artist  of  the  Flemish  school 
in  his  time.  One  critic  says:  "For  harmonious  frankness  of 
color  and  purity  of  expression,  Memling  must  be  put  at  the 
head  of  old  Flemish  painters." 

Memling  attempt?ed  more  in  the  way  of  composition  than 
many  who  preceded  him.  In  this  picture  he  represents  a 
home  scene  in  the  life  of  the  Infant  Saviour,  and  shows  part  of 
a  landscape  through  a  window,  as  well  as  flowers  and  other 
objects  on  a  sideboard.  This  kind  of  study  would  be  called 
"genre"  to-day. 

You  can  see  at  a  glance  this  is  by  one  of  the  early  masters, 
yet  what  exquisite  sweetness  in  the  mother's  face!  What 
dignity  joined  to  humility!  Well  may  our  students  of  to-day 
study  such  noble  paintings  as  this. 


Madonna  ani>  CtiiLD — B}'  Nans  Memling 


60  ART    STUDIES    FOR   SCHOOLS 


Artist:  Raffaello  Sanzio 

Birthplace:  Italy 

Dates :  1483-1520 

Subject:  Sistine  Madonna 

ONE  of  the  greatest  names  in  the  realm  of  art  is  that  of 
Raffaello  Sanzio — or  Raphael,  as  he  is  called — who  has 
given  to  the  world  its  most  famous  Madonna,  the  one 
called  "Madonna  di  San  Sisto,"  or  the  Sistine  Madonna.  It  is 
owned  by  Saxony,  and  hangs  in  the  royal  gallery  at  Dresden. 

Nearly  everyone  is  familiar — through  reproductions — with 
this  wonderfully  beautiful  picture,  but  the  effect  can  never  be 
truly  felt  till  the  original  is  seen.  When  one  first  sees  the 
painting,  it  is  difficult  to  realize  that  mortal  hand  executed 
it  It  seems  impossible  that  a  human  brain  should  have  con- 
ceived anything  so  holy  and  elevating  in  its  influence  on  the 
observer.  So  spiritual  is  the  effect  of  the  figure  of  Mary,  that 
clouds,  even,  do  not  seem  necessary  to  bear  her  up. 

There  is  a  peculiarity  about  her  eyes,  in  that  they  are  not 
"focused,"  that  is,  do  not  appear  to  look  at  the  same  point. 
This  is  intentional,  and  is  what  gives  them  the  expression  of 
looking  into  indefinite  distance,  as  though  they  saw  all  that 
her  child  would  pass  through  as  the  Redeemer  of  His  race. 
"Completely  human  and  completely  divine,  an  abstraction  of 
power,  purity  and  love,"  is  what  one  writer  has  said  of  this 
Madonna.  It  is  the  last  of  the  many  Madonnas  Raphael 
painted,  and  without  exception  is  the  most  beautiful  one. 

Raphael  was  born  in  Urbino,  Italy,  in  1483.  It  is  said  that 
his  father  was  his  first  painting  master,  but  the  history  of  his 
earlier  years  is  somewhat  obscure.  He  was  an  architect  and 
sculptor  as  well  as  a  painter,  and  his  great  reputation  was  won 
in  a  very  short  life,  comparatively  speaking,  for  he  died  on 
his  thirty-seventh  birthday.  Many  persons  think  that,  had  he 
lived  as  long  as  Michael  Angelo  or  Leonardo  da  Vinci,  he 
would  have  surpassed  them  to  such  a  degree  that  everyone 
would  now  unhesitatingly  place  him  at  the  head  of  the  Old 
Masters.  These  persons  forget,  I  think,  that  it  is  not  the  num- 
ber of  one's  works  nor  the  length  of  years  of  one's   activity 


Maik)Nna  i>i  .>A.>  .^isTo,  OR  SiSTiNE  Madonna — By  Raphael 


62  ART    STUDIES    FOR    SCHOOLS 

that  counts  for  greatness,  but  the  quality  of  one's  genius,  and 
its  fruits. 

Great  as  Raphael  was,  he  was  so  wholly  unlike  those  other 
two  mentioned  (and  all  others)  tnat  comparisons  are  profitless; 
we  should  rather  be  glad  there  are  several  great  masters  who 
istand  side  by  side  on  the  topmost  plane  of  known  excellence 
in  art.  Raphael's  delicacy  of  sentiment  and  correctness  of 
drawing  are  remarkable,  as  well  as  his  beautiful  coloring. 
These  qualities  are  nowhere  better  shown  than  in  the  most 
celebrated  of  all  his  works,  the  Sistine  Madonna. 

The  Sistine  Madonna  hanging  in  the  royal  gallery  at  Dres- 
den has  been  considered  the  famous  original  until  within  a 
few  years,  when  a  purported  original  has  been  brought  for- 
ward and  the  Dresden  picture  declared  to  be  a  copy.  The  final 
verdict  has  not  been  pronounced  by  the  art  authorities. 
Truth  is  what  we  are  all  seeking,  but  in  the  eagerness  of 
modern  research,  one  must  beware  of  imposture  and  idle  spec- 
ulation. Let  us  believe  that  this  work,  truly  divine  in  its 
inspiration,  is  that  of  the  immortal  Raphael's  own  brain, 
heart,  and  hand,  till  we  are  compelled  to  believe  otherwise. 


SiSTiNE  Madonna  in  Detail — By  Raphael 


64  ART    STUDIES    FOR    SCHOOLS 

Artist:  Peter  Paul  Rubens, 

Birthplace :  Flanders 

Dates:  1577-1640 

Subject:  The  Holy  Family 

HERE  is  a  Holy  Family  by  Rubens,  the  great  Flemish 
painter,  who  was  named  Peter  Paul  because  he  was 
born  on  the  day  hallowed  by  his  church  to  the  saints 
Peter  and  Paul.  Though  he  was  born  into  a  rich  and  influen- 
tial family,  he  chose  the  hard  and  studious  life  of  an  artist,  in 
preference  to  one  of  ease  as  page  to  the  Countess  Lalaing,  his 
godmother,  which  would  have  led  to  some  high  diplomatic 
career  for  him.  His  genius  was  the  dominating  force  of  his 
life  and  early  made  itself  felt. 

This  Holy  Family  of  Rubens  shows  more  chastened  types 
than  many  of  his  pictures,  for  the  plump,  rosy,  cheerful 
Flemings  he  loved  to  paint  were  not  the  most  ideal  models 
for  sacred  figures.  This  picture  includes  Joseph  and  the  Infant 
Saviour,  the  Mother,  and  Elisabeth,  who  stands  with  her 
hands  clasped  behind  her  little  son  John,  afterward  called  "The 
Baptist  "  The  atmosphere  of  the  picture  is  one  of  domestic 
love  and  peace.  Scenes  like  this,  as  far  as  the  children  are 
concerned,  have  been  witnessed  by  many  of  us,  while  the  sat- 
isfaction of  Elisabeth  seems  not  unfamiliar;  but  the  element 
which  lifts  it  above  an  everyday  scene  is  the  adoration 
manifested  by  this  same  Elisabeth,  the  look  of  awe  on  the 
child  John's  face,  and  even  on  the  holy  face  of  the  Virgin 
Mother. 

Observe  how  well  the  lines  are  arranged  both  for  harmony 
and  contrast,  how  finely  the  light  and  shade  are  disposed,  and 
also  what  fine  effect  the  rugged  Joseph  introduces,  bending  as 
before  a  higher  power,  though  expressed  in  a  weak  babe. 

There  is  much  to  admire  in  this  picture  and  much  to  learn 
from  it.     The  original   hangs   in  the  Pitti  Palace  at  Florence. 

Where  is  Florence? 


I* 


The  Hoi.y  Family— 7?^  Peter  Paul  Rubens 


66  ART    STUDIES    FOR    SCHOOLS 

Artist :  Bartolome  Esteban  Murillo 

Birthplace:  Spain 

Dates:  1617-18—1682 

Subject:  The  Holy  Family 

THE  cut  opposite  represents  another  artist's  conception  of 
the  Holy  Family — an  artist  who  was  the  greatest 
painter  his  country  ever  produced.  His  name  is  Bar- 
tolome Esteban  Murillo,  born  in  Seville  on  the  last  day  of  the 
year  1617.  He  was  the  son  of  a  mechanic  and  suffered  great 
privations  in  his  youth;  for  you  see  genius  is  not  confined  to 
any  rank  in  life:  it  is  as  likely  to  be  discovered  in  the  child  of 
a  miner  or  factory  employee  as  in  the  heir  to  millions,  and  it 
knows  no  bonds  nor  bars,  but  leaps  forth  to  its  own  place,  a 
light  to  the  world. 

Murillo  had  three  styles,  carried  along  side  by  side:  What 
was  called  his  "cold"  style  w^as  for  genre,  such  as  his  famous 
beggar  boys,  and  for  landscapes;  his  "warm"  style  was  for 
religious  subjects  of  a  descriptive  character,  like  the  one 
before  us  here;  and  the  "misty"  style  was  for  religious 
subjects  illustrating  the  power  of  religion  over  the  human 
soul,  as  in  the  pictures  of  the  visions  and  ecstasies  of  the 
saints. 

*'The  Holy  Family"  of  Murillo  hangs  in  the  Louvre,  Paris, 
and  is  one  of  its  priceless  possessions. 

Let  us  study  this  picture.  First  of  all,  one's  eye  is  held 
by  the  exquisite  figure  of  the  Child,  which  is  the  perfection  of 
grace,  beauty,  and  gentleness.  Then  the  beautiful  Mother's 
face  holds  our  attention,  through  its  purity  and  sweetness,  its 
devotion  and  wrapt  expression.  The  little  John  holds  up  the 
cross  which  symbolizes  the  suffering  that  was  to  be  endured 
by  the  Saviour  of  mankind,  and  which,  terminating  like  a 
staff,  suggests  John's  preaching  in  the  desert,  and  also  the 
staff  of  the  Shepherd  (you  know  the  "Good  Shepherd"  is  one 
of  the  names  given  to  our  Saviour).  The  strong,  clear-cut  face 
of  Elisabeth,  with  its  adoring  expression  as  her  eyes  are  lifted 
to  the  Infant  Jesus,  makes  a  fine  contrast  to  the  soft,  youthful 


Where  is  Seville? 


Thk  Holy  Family — By  Murillo 


68  ART    STUDIES    FOR    SCHOOLS 

outlines  "of  the  children  and  of  M'^ry.  The  lamb  very 
frequently  occupies  a  place  in  such  pictures,  to  typify  inno- 
cence, and  as  a  further  symbolism,  for  yOu  know  "He  was  led 
as  a  lamb  to  the  slaughter."  Above  the  heads  of  the  group, 
wrapped  in  clouds,  is  a  representation  of  Jehovah,  proclaim- 
ing, "This  is  my  beloved  Son,"  while  the  dove  hovers  just 
above  the  Infant  Saviour's  head,  symbolizing  the  descent  upon 
him  of  the  Holy  Ghost,  and  the  spirit  of  peace  and  purity. 
The  forms  of  little  angels  in  the  clouds,  surrounding  the  figure 
of  Jehovah,  bend  in  loving  admiration  and  wonder  over  the 
Holy  Child  below. 


Artist:  Franz  Ittenbach 

Birthplace :   Germany 
Dates :  1813-1879 

Subject :        Madonna  and  Child 

LET   us   examine  carefully  this   modern   German   [Madonna, 
^     by  Franz  Ittenbach,  who  lived  from  1813  to  1879. 

This  artist  was  born  near  Cologne,  on  the  river 
Rhine,  and  was  a  pupil  at  the  Diisseldorf  Academy,  which  in 
his  day  was  the  leading  art  school  of  Europe.  Everyone 
went  there  to  study,  just  as  to-day  all  students  of  art  wish  to 
go  to  Paris.  Ittenbach  painted  historic  subjects  and  portraits, 
and  designed  and  executed  frescos  in  two  German  churches. 
He  received  numerous  medals  and  honors,  was  a  member  of 
the  Vienna  Academy,  and  had  two  fine  orders  conferred  upon 
him. 

His  works  are  simple  in  design  and  execution,  but  so  full 
of  deep  religious  feeling  that  they  seem  more  like  those  of 
the  early  devout  masters  in  this  respect.  The  picture  repro- 
duced here  is  a  great  favorite  to-day.  The  two  doves  are 
symbolic  of  innocence  and  gentleness. 

Point  out  the  city  of  Cologne. 


Madonna  and  Child — By  Ittenbach 


70  ART    STUDIES    FOR   SCHOOLS 

Artist :  Guillaume  Adolphe  Bbug-uereau 

Birthplace :  France 

Dates:  1825- 

Subject:  Virgin,  Infant  Jesus,  and  St.  John 

AVERY  pleasing  subject  is  this  "Virgin,  Infant  Jesus, 
and  St.  John,"  by  Bouguereau,  one  of  the  best  and  most 
popular  of  modern  French  artists.  The  Madonna  is 
"enthroned,"  as  it  is  called  when  she  is  seated.  The  second 
and  third  figures  are  Jesus  and  St.  John,  who  so  lovingly  greets 
his  little  cousin,  Mary's  Son. 

Bouguereau  pursues  quite  a  different  manner  from  his 
countryman,  Millet.  He,  too,  loves  to  paint  rural  scenes,  but 
he  idealizes  them:  he  takes  the  view  of  such  scenes  that  appeals 
to  the  poet  rather  than  to  the  analyst.  Many  of  his  subjects 
are  religious  in  character,  and  he  has  decorated  the  ceilings 
and  walls  of  two  churches  in  France.  Bouguereau  was  born  at 
La  Rochelle,  in  1825,  and  is  still  living.  When  he  was  twenty- 
five  years  old  he  gained  the  famous  prize  at  the  Ecole  des 
Beaux  Arts  at  Paris  called  the  Prix  de  Rome,  because  it  entitles 
the  winner  to  study  at  Rome.  This  artist  remained  there  five 
years,  and  made  the  most  of  his  opportunity. 

Bouguereau' s  work  is  characterized  by  culture  and  grace, 
by  excellence  of  composition,  and  by  very  careful  execution. 
In  examining  the  subject  given  here  you  can  see  for  yourself 
that  all  of  this  is  true.  There  is  no  crudeness  of  drawing  or  of 
pose.  All  is  graceful,  sweet,  dignified,  and  there  is  an  expres- 
sion of  affectiori  about  it — especially  in  the  little  St.  John — 
that  strongly  appeals  to  us.  There  could  hardly  be  a  better 
example  of  a  compact  design,  without  crowding,  without  hard- 
ness or  stiffness  of  line,  or  of  light  and  shade.  Does  not  the 
effect  of  light  and  shade  in  this  picture  suggest  opportunity 
for  rich  coloring? 

Many  of  Bouguereau' s  paintings  are  owned  in  the  United 
States — about  thirty  of  them  in  New  York,  seven  in  Philadel- 
phia, and  several  in  Boston  and  St.  Louis. 

What  great  event  in  history  was  connected  with  La  Rochelle  ? 


Virgin,  Infant  Jesus,  and  St.  John— ^_y  Bouguereau 


72  ART    STUDIES    FOR    SCHOOLS 


Artist :  Gabriel  Max 

Birthplace:  Bohemia 

Dates:  1840- 

Subjeet:  Madonna  and  Child 


HERE  is  a  Madonna  and  Child  by  Gabriel  Max,  a  modern 
artist  usually  spoken  of  as  a  German.  He  is,  strictly 
speaking,  a  Bohemian,  having  been  born  at  Prague, 
in  1840.  His  father  was  a  sculptor,  so  you  see  he  was  born 
into  an  artistic  atmosphere  and  had  good  instruction  as  a 
child.  He  paints  genre  and  historical  subjects.  He  exhibited 
first  in  1867,  and  ev^er  since  then  his  fame  has  grown  steadily. 
He  was  professor  at  the  Art  Academy  of  Munich  from  1879  to 
1883,  and  has  taken  gold  medals  for  his  paintings  from  both 
the  Munich  and  the  Berlin  Academy. 

He  has  used  this  subject  of  the  Madonna  and  Child  several 
times  and  always  as  the  "Madonna  of  Love,"  as  this  treatment 
of  the  subject  is  called;  for  there  are  "Madonnas  Enthroned," 
"Madonnas  in  Glory,"  "Grieving  Madonnas,"  and  many 
other  divisions,  according  to  the  different  stages  in  her  life 
and  that  of  her  Son.  There  are  no  details  in  this,  nor  in  the 
other  Madonnas  of  Max,  to  divert  attention  from  the  main 
thought. 

Study  the  expressions  here:  the  proud,  calm  joy  of  the 
mother;  the  tender  mouth,  yet  the  sad  foreboding  in  the  eyes, 
and  the  strength  to  endure  which  is  so  plainly  told  by  the 
contour  of  the  lower  part  of  the  face  and  by  the  brows  where 
thought  sits  enthroned.  The  clinging  attitude  of  the  Child  is 
the  key-note  of  the  loving  story,  and  while  the  face  is  undeni- 
ably infantile,  the  eyes  speak  much — more,  indeed,  than  we 
can  interpret  in  words,  words  which  always  prove  so  cold  and 
empty  when  we  would  express  what  lies  in  our  hearts.  Such 
a  picture  not  only  stirs  thought,  but  deepest  emotions.  Our 
mind  speeds  ahead  to  the  dark  hours  of  misunderstanding,  of 
keen  anguish  of  spirit,  of  ignominy  and  cruel  shame,  in  store 
for  this  innocent  Babe  when,  as  a  man,  He  "put  off  childish 
things,"  and  began  His  Father's  work — showing  the  way  weak 
humanity  could  and  must  work  upward  by  the  power  of  truth 
to  life  eternal. 


Madonna  and  Child — By  Gabriel  Ma. 


74  ART    STUDIES    FOR    SCHOOLS 

Artist:  Henri  Lerolle  ^ 

Birthplace:  France 

Dates :  1848- 

Subject:  The  Nativity 

ANOTHER  very  modern  picture  of  the  Madonna  is  this 
one  by  Lerolle,  who  is  of  the  French  school.  It  rep- 
resents "The  Nativity,"  or  birth  of  Jesus  of  Nazareth  in 
the  humble  stall  at  Bethlehem.  This  picture  may  be  said  to 
belong  to  the  naturalistic  school.  It  is  very  sweet  and 
tender,  however,  and  impresses  the  lowly  circumstances  of  the 
birth  of  Him  who  was  to  become  the  Prince  of  Peace. 

Henri  Lerolle — figure,  landscape  and  portrait  painter — was 
born  in  Paris  in  1848.  He  has  received  many  medals  and  the 
decoration  of  the  Legion  of  Honor.  His  work  is  full  of  poetic 
feeling  and,  like  Millet,  he  is  fond  of  painting  solitary  figures 
in  the  midst  of  vast  and  lonely  landscapes. 

These  pictures  of  the  Madonna  and  Child,  especially  the 
last  one,  remind  us  of  the  sacred  season  of  Christmas,  and  we 
should  try  to  learn  all  the  lessons  this  blessed  time  teaches. 
It  is  the  time  of  giving  to  one  another  in  commemoration  of 
the  greatest  of  gifts  to  the  world,  Jesus,  our  Lord  and  Saviour. 
It  is  a  season  of  rejoicing,  because  He  brought  promise  of 
joy  eternal  to  the  redeemed  of  the  Lord. 

It  is  the  season  of  promising  to  be  a  better  boy  or  a 
better  girl  because  of  the  wonderful  blessings  showered  on 
you  in  this  glorious  country  of  ours,  where  everything  that  is 
good  and  true  in  art,  in  religion,  and  in  education,  can  be 
enjoyed  and  developed  to  make  us  more  worthy  of  the  perfect 
manhood  of  Jesus  and  the  perfect  womanhood  of  His  mother, 
the  Madonna. 


The  Nativity — Bjf  Lerolle 


76  ART    STUDIES    FOR    vSCHOOLS 

Artist :  Pascal  Adolphe  Jean  Dagnan-Bouveret 

Birthplace  :  France 

Dates  :  1852- 

Subject  :  Madonna  and  Child 

THE  representation  of  Madonna  and  Child  by  Dagnan- 
Bouveret  is  quite  different  in  conception  and  treatment 
from  any  we  have  looked  at.  One  may  easily  imagine 
that  the  artist,  though  a  Parisian,  has  studied  a  peasant-mother 
type  in  portraying  the  Virgin  Mary.  The  Child  is  wrapped  in 
swaddling  clothes,  quite  after  the  fashion  of  European  babies 
in  general.  But  we  cannot  deny  that  the  effect  is  a  very  noble 
one.  Why?  Look  carefully  at  the  lines  of  the  composition, 
at  the  background,  at  the  effect  of  light  and  shade,  and  at  the 
Madonna's  face. 

Several  of  the  modern  representations  of  this  subject  are 
rural  or  rustic  Madonnas.  This  picture  is  an  illustration  in 
which  the  mother  comes  toward  us  down  a  leafy  alley,  clad 
very  much  as  a  peasant  woman  might  be,  and  holding  her 
Child  as  such  a  mother  would.  The  sentiment  of  loving 
devotion,  most  beautifully  portrayed  here,  impresses  the 
observer  first  of  all.  It  matters  not  how  tall  the  trees  are, 
how  the  light  and  shade  play  among  their  branches,  or 
whether  the  distance  effect  is  subdued  to  the  foreground;  for 
although  all  these  things  are  skilfully  managed,  the  central 
thought  is  the  dignity,  the  simplicity,  the  love  of  the  mother. 

It  is  a  singular  fact  that  in  representing  the  Madonna 
artists  have  almost  always  made  use  of  the  female  type  of 
beauty  of  their  own  countries,  instead  of  painting  her  a  Jewish 
maiden,  as  of  course  they  all  knew  she  was.  That  is  why  the 
Madonnas  of  Rembrandt  and  Rubens,  which  are  so  plump  and 
rosy,  fail  to  please  us  as  much  as  do  those  of  Italy  and  Spain, 
or  even  this  French  peasant  woman,  accustomed  to  the 
hardships  of  life,  as  you  can  see  by  her  sad,  sweet  face. 


Madonna  and  Child — By  Dagnan-Bouveret 


78  ART    STUDIES    FOR    SCHOOLS 

Artist :  Edwin  Howland  Blashfield 

Birthplace :  United  States 

Dates:  1848- 

Subject :  Christmas  Chimes 

AS  THE  season  approaches  when  we  commemorate  the 
birth  of  our  blessed  Saviour,  the  whole  air  seems  filled 
with  joy,  all  faces  wear  a  happier  expression  than  usual, 
and  it  seems  as  though  peals  of  music  and  chimes  of  bells  fill 
the  air,  sung  and  rung  by  invisible  choirs  of  angels.  Our  own 
American  artist,  Blashfield,  has  given  us  this  picture  of  the 
Christmas  chimes  being  rung  by  beautiful,  joyous  angels. 
The  whole  spirit  of  the  season  can  be  read  in  the  free,  sweeping 
lines  of  the  figures  and  their  wings,  as  well  as  in  their  bright, 
glad  faces.  The  dove,  symbol  of  gentleness,  adds  a  note  of 
harmony  to  the  expressiveness  of  the  picture. 

The  lessons  taught  by  the  Old  Masters  have  been  applied 
by  our  best  modern  artists,  who  have  endeavored  to  seize  the 
spirit  of  devotion  of  their  great  predecessors,  and  to  add  to 
that  all  that  modern  thought  and  clear  insight  into  spiritual 
things  afford. 

Edwin  Howland  Blashfield — genre,  historical  and  portrait 
painter — was  born  in  New  York  city,  where  his  studio  now  is. 
He  was  a  pupil  of  Bonnat,  and  painted  abroad,  mostly  in 
Paris,  from  1867  to  1878.  He  has  done  some  fine  decorative 
painting,  and  all  of  his  work  is  scholarly;  his  coloring  is  har- 
monious and  his  drawing  good. 

This  artist  is  also  well  known  as  a  writer  and  illustrator  of 
articles  in  the  foremost  American  magazines. 


Christmas  Chimes— ^j  Blashfield 


80  ART    STUDIES    FOR    SCHOOLS 

Artist :  Antonio  Allegri  (Cbrreggio) 

Birthplace:  Italy 

Dates:  1494-1534  * 

Subject:  Holy  Nig-ht 

HERE  is  a  very  famous  picture,  the  original  of  which 
hangs  in  the  celebrated  Dresden  gallery.  It  is  the 
"Holy  Night"  of  Correggio,  who  was  born  in  1494. 
Correggio's  real  name  was  Antonio  Allegri,  but  as  he  was  born 
in  the  town  of  Correggio,  in  Italy,  he  is  known  by  that  name. 
As  little  has  been  learned  of  his  early  training  in  art,  critics 
are  at  a  loss  to  account  for  his  style  and  method  of  painting, 
which  are  totally  different  from  those  of  his  predecessors,  and 
display  most  brilliant  originality  of  conception  and  execution. 
His  figures  are  remarkable  for  their  sweetness  of  expression 
and  grace  of  pose. 

Correggio  painted  historical  and  mythological  subjects,  as 
well  as  landscapes.  One  critic  has  said  of  him:  "In  facility 
of  handling,  in  absolute  mastery  over  the  difficulties  of  fore- 
shortening, in  the  management  of  light  and  shade  as  distrib- 
uted over  vast  spaces  and  affecting  multitudes  of  figures,  this 
great  master  has  no  rival."  Several  of  his  fine  works  are  hung 
in  the  Dresden  gallery. 

"La  Notte,"  or  "Holy  Night,"  represents  the  birth  of  the 
Saviour  and  the  shepherds  standing  in  adoration.  There  is 
one  peculiar  effect  in  this  painting,  and  that  is  the  light 
appears  to  come  from  the  face  of  the  Child,  and  to  be  cast  on 
all  objects  around.  It  is  said  this  is  the  first  historical 
painting  in  which  such  an  effect  was  employed.  You  know 
that,  in  everyday  life,  light  falls  through  a  window  from  one 
direction,  so  that  the  shade  is  on  the  farther  side  of  the  objects 
in  the  room;  but  in  this  picture,  as  the  light  comes  from  the 
centre,  shade  is  seen  on  that  part  of  each  person  or  object 
farthest  from  the  Babe. 

This  is  symbolic  of  the  fact  that  this  Child  grew  up  to  be 
the  "Light  of  the  World,"  the  Saviour  of  men,  for  He  is 
"the  Way,  the  Truth  and  the  Life." 


Holy  Night — By  Antonio  Allegri {Correggio) 


82  ART    STUDIES    FOR    SCHOOLS 

Artist :  Ludwig  Knaus  7 

Birthplace :   Germany 
Dates:  1829- 

Subject:        Rest  in  Flight 

THERE  is  a  modern  artist  named  Knaus,  a  German, 
whose  work  suggests  Correggio's  style  in  the  drawing 
and  general  expression,  although  the  surroundings  in 
Knaus's  pictures  are  much  more  simple  than  those  in  the 
paintings  by  the  Italian  master.  His  compositions  are  full  of 
lightness  and  grace.  Look  at  this  one,  called  "Rest  in 
Flight."  The  scene  represents  a  short  rest  during  the  journey 
of  Joseph  and  Mary  into  Egypt  with  the  Infant  Jesus. 

Herod  the  Tetrarch  was  filled  with  fear  and  envy  when 
he  heard  of  the  birth  of  Jesus,  "the  son  of  David's  race"  — 
which  meant  He  was  of  the  royal  house  of  Judah.  So  he 
determined  to  slay  the  Child.  As  he  could  not  find  just  where 
the  parents  had  concealed  Him,  he  laid  the  wicked  plan  of 
causing  all  little  Jewish  children  under  three  years  of  age, 
born  in  Bethlehem,  to  be  killed,  so  as  to  make  sure  that  Jesus 
should  not  live  to  grow  up  and  rule  in  his  place,  which  from 
the  prophecies  he  feared  would  come  to  pass. 

But  you  know  an  angel  of  God  appeared  to  Joseph  and 
bade  him  take  Mary  and  the  Child  and  flee  to  Egypt  and 
remain  till  Herod  was  dead.  They  obeyed  this  command, 
and  there  are  various  pretty  legends  about  angels  ministering 
to  them  on  the  way,  about  barren  trees  suddenly  bursting  into 
leaf  to  give  them  shade,  and  about  springs  of  pure  water 
welling  from  the  sandy  soil  to  refresh  the  tired  and  thirsty 
wanderers.  And  more  than  one  artist  of  renown  has  embodied 
these  legends  in  beautiful  paintings. 

Ludwig  Knaus  is  the  foremost  genre  painter  of  Germany, 
and  one  of  the  leaders  of  what  is  known  as  the  Diisseldorf 
School.  He  is  a  member  of  the  Berlin,  Vienna,  Munich, 
Antwerp,  Christiania  and  Amsterdam  academies;  and  has 
received  the  decoration  of  the  Legion  of  Honor  and  numerous 
medals. 


Rkst  in  Flight — By  Ludivig  Knaus 


84  ART    STUDIES    FOR    SCHOOLS 

Artist :  Sir  Anthony  Van  Dy<3k 

Birthplace :   Flanders 
Dates:  1599-1641 

Subject:         Repose  in  Eg-ypt 

HERE  is  another  picture   illustrative  of  the  flight  of  the 
Holy  Family  into  Egypt. 

During  the  journey  Joseph  and  Mary  rested  in  a 
cool,  shady  spot,  and  in  this  picture  are  represented  as  being 
ministered  to  by  angels.  Notice  the  serene,  protecting  look 
of  the  Virgin  Mother;  also  the  beautiful  attitudes  and  faces  of 
the  angel  groups,  especially  the  little  angel  nearest  the  Mother 
and  Child,  and  the  one  seated  on  the  cloud,  holding  a  book 
from  which  he  seems  to  be  singing. 

Sir  Anthony  Van  Dyck,  who  painted  "Repose  in  Egypt," 
was  born  in  Antwerp.  He  was  a  pupil  of  Rubens,  and  early 
showed  himself  possessed  of  so  much  talent  that  he  could 
repaint  portions  of  his  master's  work  and  not  have  the  differ- 
ence discovered. 

This  is  the  way  it  happened:  Rubens  was  away  from  his 
studio,  which  was  locked.  His  pupils  obtained  the  key,  and, 
contrary  to  their  master's  orders,  entered  the  studio.  One  of 
their  number  fell  against  a  painting  on  the  easel,  and,  as  it  was 
wet,  rubbed  out  the  arm  of  one  figure  and  the  face  of  another. 
Of  course,  they  were  very  much  alarmed,  and  decided  that 
they  must  repair  the  mischief.  Van  Dyck  was  selected  as  the 
one  able  to  do  so  delicate  a  piece  of  work,  and  he  succeeded 
so  well  that  Rubens  did  not  discover  the  accident. 

Van  Dyck  was  a  tremendous  worker.  Although  he  died  at 
the  rather  early  age  of  forty-two  years,  he  had  executed  nine 
hundred  and  seventy-one  paintings.  He  inherited  his  talent 
from  his  mother,  who  was  noted  for  the  originality  and  beauty 
of  her  embroideries  at  a  time  when  an  embroidery  meant  a 
picture.  Her  most  remarkable  one  was  "Susannah  and  the 
Elders."  She  taught  her  son  wholly  until  her  death,  which 
occurred  when  he  was  only  eight  years  old. 


Repose  in  Egypt — By  Van  Dyck 


86  ^         ART    STUDIES    FOR    SCHOOLS 

Artist :  Tiziano  Vecellio  (Titian) 

Birthplace :   Italy 

Dates:  1477-1576 

Subject  I :      Assumption  of  the  Virg-in 

IN  1477 — the  year  we  all  know  by  heart  because  during  it 
Caxton's  first  book  was  printed  in  England — a  very  inter- 
esting boy  was  born  up  in  the  mountains  of  Cadore  in 
Italy.  This  boy  is  said  to  have  shown  by  the  Madonna  which 
he  painted  with  juices  of  flowers  on  the  walls  of  a  house,  what 
wonderful  talent  for  art  he  possessed.  He  was  the  son  of  a 
well-to-do  man  named  Vecellio,  but  we  know  him  best  by  the 
name  Titian,  which  calls  to  mind  at  once  exquisite  coloring, 
graceful  forms,  delicate  expression,  richness  of  composition, 
and  a  semi-classical  style. 

Titian  painted  historic  and  religious  subjects  and  also  por- 
traits; and  as  he  lived  to  be  nearly  one  hundred  years  old, 
painting  up  to  the  very  last  with  unfailing  steadiness  of  hand 
and  keenness  of  intellect,  he  has  left  an  immense  amount  of 
work  to  testify  to  his  industry.  One  of  his  most  famous 
pictures  (probably  the  most  famous)  is  the  "Assumption  of 
the  Virgin,"  delineating  the  belief  of  the  Roman  Catholic 
Church  that  after  the  death  of  the  mother  of  our  Saviour  she 
was  borne  by  angels  into  heaven,  where  she  received  the 
crown  of  life  eternal,  and  was  placed  at  the  right  hand  of  her 
blessed  Son. 

Sec  all  the  cherubs  of  heaven  hastening  to  bear  up  the  risen 
Virgin  !  Could  anything  give  a  better  idea  of  her  ethereal- 
ized,  spiritualized  character  than  these  little  hands  bearing  her 
aloft?  Notice  the  rapt  and  adoring  attitudes  of  the  disciples 
left  on  earth,  especially  that  of  John,  "whom  Jesus  loved." 
We  can  always  distinguish  John  from  the  rest  by  his  beautiful 
and  spiritual  countenance,  which  has  something  womanly 
about  it,  and  seems  to  foretell  the  wonderful  visions  of  his 
which  are  called  "Revelation"  in  the  Bible. 

John  Ruskin,  the  eminent  writer,  artist  and  art  critic, 
declares  that  "Titian's  power  culminated  in  the  'Assumption,' 
Teter  Martyr,'  and  'The  Presentation  of  the  Virgin.'  " 

Among  Titian's  portraits  are  sev^eral  beautiful  ones  of  his 


Assumption  of  the  Virgin — By  Titian 


88  ART    STUDIES    FOR    SCHOOLS 

daughter,  Lavinia.  In  one  she  bears  alqit  a  basket  of  fruit, 
and  turns  to  look  at  you  over  her  shoulder.  Perhaps  the 
"Sleeping  Venus"  is  as  well  known  and  as  beautiful  as  any  of 
his  mythological  subjects. 

Subject  II :     The  Tribute  Money 

This  is  another  of  the  most  famous  of  Titian's  paintings. 
The  shrewd,  cunning  Pharisee —who  thinks  he  has  trapped 
Jesus  by  his  question,  "Is  it  lawful  for  us  to  give  tribute  unto 
Caesar  or  no?" — is  powerfully  contrasted  with  the  mild,  digni- 
fied, patient  Nazarene. 

It  is  interesting  to  note  some  of  the  remarkable  things  that 
took  place  during  that  one  hundred  years  Titian  was  living. 

1477 — Caxton's  first  book  printed  in  England 

1492— Columbus's  voyage  to  Western  Continent 

1519-22 — Magellan's  voyage  around  the  globe 

1521— Diet  of  Worms,  Martin  Luther 

1529 — Diet  of  Spires,  Protestantism 

1545 — Council  of  Trent 

1572 — Revolt  of  the  Netherlands 

Much  more  could  be  told  about  the  lives  and  works  of 
these  great  artists,  but  it  is  to  be  hoped  an  interest  will  be 
created  in  them,  so  that  the  student  will  look  them  up  for  him- 
self. 


^^M 

'^^m    ■ 

f  ■.■  _« 

V'^/^^^^^^^^^^^^^H 

V^^^^^^^^^l 

^:*     J 

The  Tribute  Money — By  Titian 


90  ART    STUDIES    FOR    SCHOOLS 


Artist:  Sir  Anthony  Van  Dyck 

Birthplace :   Flanders 
Dates:  1599-1641 

Subject:         Baby  Stuart 

MANY  of  the  most  famous  artists  of  the  world  have 
devoted  a  part  of  their  skill  to  portrait  painting,  and 
a  few  of  them  have  won  their  fairest  laurels  by  this 
kind  of  work.  Among  them  were  Titian,  in  Italy;  Van  Dyck, 
a  native  of  Antwerp,  and  therefore  of  the  Flemish  school,  as 
was  his  even  more  celebrated  countryman,  Peter  Paul  Rubens; 
in  England,  Sir  Joshua  Reynolds;  in  Spain,  Velasquez. 

The  picture  on  the  opposite  page,  familiarly  called  "Baby 
Stuart,"  is  from  a  group  by  Van  Dyck  representing  the  chil- 
dren of  Charles  I,  King  of  England.  Charles  was  a  great 
patron  of  the  arts,  and  so  sent  for  the  illustrious  Flemish 
portrait  painter  to  go  to  London,  where  he  was  made  court 
painter,  a  great  honor  in  those  days,  with  an  income  attached. 

It  was  in  England  that  Van  Dyck  had  his  most  brilliant 
success,  and  many  of  his  masterpieces  are  owned  there  to-day. 
He  was  buried  with  extraordinary  honors  in  St.  Paul's 
Cathedral  in  London.  He  was  a  generous  patron  of  all  who 
excelled  in  art  and  science,  for  great  minds  like  his  cannot 
feel  envy  of  others'  success,  but  glory  in  it  for  the  sake  of  the 
good  it  does  the  whole  world. 

Baby  Stuart's  name,  at  the  time  when  the  picture  was 
painted,  was  James,  Duke  of  York;  but  he  is  best  known  in 
history  as  James  II,  King  of  England.  This  dear  little  baby 
head,  which  is  a  great  favorite,  gives  no  hint  of  the  things  the 
man,  James  II,  was  to  do  and  to  leave  undone.  James  was 
not  an  admirable  character;  but  we  must  not  forget  how  diffi- 
cult it  was  to  be  a  good  king  in  those  troublous  times;  let  us 
try  to  have  some  pity  for  weaknesses  and  those  acts  of  which 
we  cannot  approve. 

Tell  something  about  James  II  of  England. 


Baby  Stvart—Bj^  Van  Dyck 


92  ART    STUDIES    FOR    SCHOOLS 

Artist :  Don  Rodriguez  de  Silva  y  Velasquez 

Birthplace  :  Spain 

Dates:  1599-1660 

Subject:  Don  Balthazar  Carlos 

THIS  is  the  portrait  of  another  royal  little  boy,  Don 
Balthazar  Carlos,  son  of  King  Philip  IV,  of  Spain.  He 
was  born  in  1607,  a  little  earlier  than  "Baby  Stuart," 
who  was  his  own  cousin,  as  their  mothers  were  sisters. 

The  father  of  this  little  Spanish  prince  was  a  great  patron 
of  the  arts,  and  it  is  said  that  he  could  paint  very  well  him- 
self. So  he  drew  around  him  many  noted  artists  of  his  day, 
among  them  his  subject,  Don  Diego  Rodriguez  de  Silva  y 
Velasquez.  That  would  be  so  long  a  name  to  say  every 
time  this  artist  was  to  be  mentioned,  that  it  is  usually  short- 
ened to  Velasquez.  Oddly  enough,  this  was  his  mother's 
maiden  name,  Silva  being  his  father's  last  name.  The  Span- 
ish custom  is  to  use  the  surnames  of  both  father  and  mother, 
joined  by  "y^"  which  means  "and";  and  in  shortening,  it  is 
the  usual  thing  to  drop  the  mother's  name.  Velasquez,  how- 
ever, preferred  to  retain  his  mother's  name,  which  is  one  well 
known  in  Spain. 

Velasquez  was  court  painter  for  Philip  IV,  and  as  Spain 
was  at  that  time  one  of  the  leading  powers  of  Europe,  and 
great  men  of  all  countries  came  to  its  court,  there  was  a  fine 
chance  for  making  portraits  which  would  cause  the  artist's 
talent  to  be  widely  known.  Many  of  his  works  are  owned  in 
Russia,  as  well  as  in  England,  France,  Germany,  Sweden,  and 
Italy. 

The  little  prince  here  shown  never  reigned  as  king,  for  he 
died  in  1632,  in  his  early  manhood.  Many  portraits  of  him 
were  made  by  Velasquez,  some  representing  him  on  horse- 
back, some  with  a  baton  in  his  hand.  He  was  called  Prince 
of  Asturia;  the  people's  hopes  were  centred  in  him,  and  con- 
sequently they  felt  his  early  death  keenly. 


Don  Balthazar  Carlos— /^y  Velasquez 


94  ART    STUDIES    FOR    SCHOOLS 

Artist :  Rembrandt  van  Ryn  '? 

Birthplace :  Holland 

Dates:  1607-1669 

Subject :  Portrait  of  an  Old  Woman 

ANOTHER  able  painter  of  portraits,  although  he  did  his- 
torical scenes  and  landscapes  as  well,  was  Rembrandt 
van  Ryn,  who  lived  at  the  same  time  as  did  Rubens, 
Van  Dyck,  and  Velasquez.  You  remember  his  picture,* "The 
Mill,"  which  we  studied  earlier  in  the  book. 

Rembrandt  painted  vigorous  people  admirably,  for  he  had 
much  dignity  himself;  but  he  had  not  so  much  feeling  for 
grace  and  beauty  as  many  artists  have.  He  appreciated  the 
venerable  look  of  aged  people,  and  has  left  in  paintings  and 
engravings  some  fine  examples  of  his  power  to  portray  this. 
This  "Portrait  of  an  Old  Woman''  we  feel  sure  must  have  been 
a  good  likeness,  for  the  expression  is  so  "lifelike,"  as  we 
say. 

Many  of  Rembrandt's  portraits  are  bright  and  joyous,  and 
among  the  finest  he  executed  are  those  of  his  first  wife,  to 
whom  he  was  devoted.  He  made  over  fortv  portraits  of  him- 
self. 

Rembrandt  founded  a  new  school  of  Dutch  art,  and  became 
the  most  famous  artist  his  country  ever  produced.  He  did 
not  go  to  Italy  to  study — in  fact,  is  said  never  to  have  been 
outside  of  Holland — but  he  studied  men  and  nature  faithfully 
and  with  genius.     His  work  is  thoroughly  original  and  Dutch. 

This  artist  had  in  his  house  in  Amsterdam  a  fine  collection 
of  Dutch  and  Italian  paintings,  armor,  glass,  porcelain,  etc. 
But  he  gradually  became  poorer  and  poorer,  and  finally  was 
obliged  to  sell  his  home  and  all  of  his  belongings  at  auction. 

What,  of  interest  to  the  whole  world,  took  place  in  Holland — at  The 
Hague — during  the  summer  of  1899  ? 


Portrait  op  an  Old  Woman— ^^  Rembrandt 


9G  ART    STUDIES    FOR    SCHOOLS 

Artist :  Marie  Louise  Elisabeth  Vigee-Lebrun 

Birthplace:  France 

Dates:  1755-1842 

Subject:        Madame  Lebrun  and  Her  Daughter. 

THE  French  have  always  been  considered  a  very  courteous 
people,  and  they  must  be  so,  when  their  art  biographers 
are  too  polite  to  state  the  age  of  a  celebrated  portrait, 
landscape,  and  historical  painter  because  she  happens  to  be  a 
woman,  as  in  the  case  of  Madame  Vigee-Lebrun!  Her  Amer- 
ican biographer  has  no  scruples,  however,  in  giving  the  dates 
of  her  birth  and  death. 

Marie  Louise  Elisabeth  Vigee  received  her  first  lessons  in 
art  from  her  father,  a  portrait  painter,  who  taught  her  draw- 
ing. She  perfected  herself  in  her  work  by  a  careful  study  of 
the  Old  Masters  in  the  Louvre,  and  at  the  age  of  sixteen  she 
began  to  paint  portraits.  She  married  J.  P.  B.  Lebrun,  a 
painter  and  picture  dealer,  and  became  a  fashionable  portrait 
painter  and  a  leader  in  the  most  aristocratic  society  of  Paris. 
She  was  beautiful,  as  well  as  accomplished,  and  her  home  was 
a  gathering  place  for  interesting  and  cultured  people. 

Madame  Lebrun  painted  just  after  the  First  Empire,  and 
so  one  sees  in  certain  of  her  pictures  a  tendency  to  imitate  the 
classic  in  the  style  of  dressing  the  hair  and  in  the  drapery. 
You  notice  it  in  this  charming  portrait  she  painted  of  herself 
and  daughter. 

Napoleon,  the  hero  of  the  First  Empire,  had  a  strong  taste 
for  the  classic;  he  modeled  his  career  largely  after  that  of 
Alexander  the  Great,  and  introduced  the  costumes  of  Greece 
and  of  the  era  of  Alexander  into  his  court. 

Madam.e  Lebrun  painted  some  very  fine  portraits  of  distin- 
guished personages,  one  of  whom  was  the  then  Prince  of 
Wales;  but,  though  she  was  made  member  of  the  Academies 
of  ten  different  countries,  England  neglected  to  confer  this 
honor  upon  her. 

This  artist  was  still  painting  finely  at  the  age  of  eighty 
years,  and  when  she  died  left  662  portraits,  200  landscapes, 
and  1 5  historical  pictures.  She  would  have  been  remarkable  for 
her  industry  even  if  her  work  had  not  entitled  her  to  renown. 


Madame  Lebrun  and  Her  Daughter— ^j/  Lebrun 


1)8  ART    STUDIES    FOR    SCHOOLS 

Artist :  Sir  Joshua  Reynolds^ 

Birthplace :   England 
Dates:  1723-1792 

Subject  I :     Penelope  Boothby 

THE  next  picture  is  one  familiar  to  all  lovers  of  art,  and 
is  so  full  of  charm  that  it  hardly  needs  to  have  its 
beauties  pointed  out.  Study  the  quaintness  of  this 
little  figure,  Penelope;  the  mobcap,  mits,  kerchief,  and  short 
waist;  the  grace  of  her  pose,  the  falling  locks  of  hair,  and  the' 
bow  in  her  cap.  There  is  not  a  stiff  line  anywhere.  We  feel 
sure  this  must  have  been  i  "speaking"  likeness,  from  the  eyes 
full  of  mirth,  the  upturned  corners  of  the  sweet  mouth,  and 
the  delicate  oval  of  the  face. 

This  fascinating  picture  is  by  Sir  Joshua  Reynolds,  the 
most  illustrious  of  all  painters  of  women's  and  children's  por- 
traits, and  an  artist  who  introduces  landscape  into  his  pictures 
so  beautifully  that  we  can  plainly  see  he  would  have  excelled 
as  a  landscape  painter  had  he  devoted  himself  to  that  branch 
of  art. 

Joshua  Reynolds  was  born  in  England  in  1723,  and  was  the 
son  of  a  country  clergyman  and  scholar.  The  father  had 
intended  to  make  a  physician  of  this  son,  till  he  saw  what 
unusual  aptitude  for  painting  the  boy  possessed.  Joshua 
painted  his  first  portrait  when  he  was  only  twelve  years  old, 
his  studio  being  an  old  boat-house  on  the  beach,  his  canvas  a 
piece  of  sail,  and  his  colors  common  ship  paint. 

There  are  many  very  amusing  anecdotes  told  about  his 
boyhood.  He  persisted  in  drawing  even  in  his  school-books, 
and  on  the  back  of  one  of  his  Latin  exercises  his  father  wrote 
beside  a  sketch:  "This  was  drawn  by  Joshua  in  school,  out  of 
pure  idleness."  He  was,  however,  fond  of  literary  exercises, 
and  early  developed  habits  of  careful  thought,  which  you  may 
be  sure  helped  him  in  his  painting  later.  It  is  certain  that  if 
a  boy  or  girl  acquires,  while  attending  school,  the  habit  of 
doing  things  well,  the  important  duties  of  life  will  also  be 
well  done. 

Joshua  made  a  set  of  rules  for  himself  which  contained 
much  wisdom;    here  is  one  of  them:    "The  great  principle  of 


Penelope  Boothby — By  Reynolds 


100  ART   STUDIES   FOR   SCHOOLS 

being  happy  in  this  world  is  not  to  mind  or  be  affected  by 
small  things." 

He  was  finally  allowed  to  go  up  to  London,  when  he  was 
about  eighteen  years  old,  to  study  under  the  fashionable 
portrait  painter  of  the  day,  Thomas  Hudson.  At  first  he  made 
only  copies,  but  he  wrote  home:  "While  doing  this  I  am  the 
happiest  creature  alive." 

A  few  years  later  he  went  to  Spain  and  Italy,  and  remained 
in  the  latter  country  two  years,  studying  the  works  and  the 
methods  of  the  Old  Masters.  You  will  find  that  nearly  every 
good  artist  in  every  age  has  done  this,  no  matter  how  original 
his  work  may  have  been.  Reynolds  made  a  special  study  of 
expression  and  effect,  which  he  excelled  in  later  in  his  own 
work. 

When  he  returned  to  his  own  country  in  1752  he  found 
art  there  in  a  very  poor  state.  He  sprang  into  favor  at  once, 
and  as  his  work  caused  quite  a  revolution  in  methods,  he 
has  been  called  "the  father  of  English  painting."  He 
became  first  President  of  the  Royal  Academy,  which  was 
founded  in  1768,  and  during  thirty  years  he  exhibited  272  pic- 
tures in  London,  besides  delivering  lectures  at  the  Academy, 
and  contributing  articles  to  art  magazines.  He  painted  on  an 
average  over  100  portraits  a  year  for  many  successive  years,  and 
during  1757  he  had  665  sittings,  all  of  which  were  recorded! 
You  see,  the  men  who  have  become  really  famous  have  nearly 
always  been  great  workers. 

Subject  11:  Miss  Bowles 

One  of  Reynolds's  most  attractive  portraits  is  that  of  Miss 
Bowles,  with  her  dog.  We  do  not  know  which  to  admire  the 
more, the  dog  or  the  little  girl,  both  are  so  natural.  Notice  the 
pretty  effect  of  the  landscape  background,  with  the  light  fall- 
ing through  the  trees.  Of  course,  this  is  not  what  supplies 
light  for  the  figures,  but  it  is  what  we  call  "suggestive." 
You  can  imagine  Miss  Bowles  and  her  dog  have  just  finished 
a  romp  in  the  woods;  her  wide-open  eyes  suggest  healthy 
exercise  and  that  she  is  almost  out  of  breath,  while  the  dog 
looks  perfectly  willing  to  rest  in  the  arms  of  his  mistress,  even 
if  squeezed  a  bit  closer  than  comfort  requires. 


Miss  Bowles— Zfy  Reynolds 


102  ART    STUDIES    FOR    SCHOOLS 

•\ 
Artist :  Raffaello  Sanzio  (Raphael) 

Birthplace:  Italy 
Dates :  1483-1520 

Subject  I :      Sketching  the  Madonna  della  Sedia 

ALTHOUGH  we  seldom  think  of  Raphael  as  a  portrait 
painter,  several  of  the  figures  in  his  most  celebrated 
works  were  painted  from  life,  among  them  the  three  fig- 
ures in  the  picture,  "Madonna  della  Sedia,"  which  means 
".Madonna  of  the  Chair." 

The  story  of  this  painting  is  a  very  pretty  one,  and  prob- 
ably has  some  foundation  in  fact.  It  is  said  that  in  the  open 
country  surrounding  Florence,  in  a  little  hut  under  an 
immense  oak  tree,  there  lived  a  very  pious  and  kindly  monk. 
The  oak  tree  and  a  kind-hearted  young  girl  who  brought  him 
food  he  called  his  "two  daughters."  One  spring  a  terrible 
freshet  swept  down  the  mountain  streams  and  carried  every- 
thing before  it,  even  the  poor  little  hut  of  the  monk,  who,  for 
safety,  climbed  his  beloved  tree  and  was  saved.  Here  his 
other  "daughter,"  whose  name  was  Maria  (the  Italian  for 
Mary)  found  him  when  the  water  had  subsided  sufficiently  for 
her  to  go  to  him  with  food.  He  declared  that  his  "two 
daughters"  had  saved  his  life,  and  as  a  reward  he  knew  they 
would  both  become  famous. 

In  time  Maria  married  a  cooper,  and  the  oak  was  cut  down 
and  used  for  staves  and  hoops  of  casks.  One  day  Raphael, 
then  a  young  man,  was  wandering  disconsolately  about,  search- 
ing for  a  model  for  a  Madonna  picture  he  wished  to  paint.  He 
was  growing  discouraged  when  his  gaze  chanced  to  fall  on  the 
wife  and  children  of  a  cooper,  who  formed  such  a  picturesque 
group  that  he  instantly  saw  the  long-desired  model  was 
found.  He  had  no  painting  materials  with  him,  so  he  seized 
a  piece  of  charred  wood  and  drew  on  the  end  of  a  fresh,  new 
cask  the  group  known  as  the  "Madonna  della  Sedia." 

The  first  picture  represents  this  scene.  The  model  for  the 
Madonna  was  Maria,  who  had  tended  the  old  monk  so  faith- 
fully, and  the  cask  on  which  her  portrait  was  drawn  had  been 
made  of  the  wood  of  the  oak  tree,  and  thus  did  the  "two 
daughters"  become  famous. 


Skktching  the  Madonna  della  Sedia— ^/  Raphael 


104  ART    STUDIES    FOR    SCHOOLS 


Subject  II :  Madonna  of  the  Chair 

The  "Madonna  of  the  Chair"  is  one  of  those  pictures  at 
which  we  never  tire  of  looking,  and  in  which  we  seem  to  find 
some  new  beauty  every  time  we  look. 

Not  only  were  these  fine  portraits,  but  the  figures  were 
grouped  into  a  fine  composition,  which  means  that  they  were 
placed  in  such  positions  with  regard  to  one  another  that  the 
lines  were  beautiful,  the  light  and  shade  fell  agreeably  on  the 
faces  and  draperies,  and  the  expressions  on  the  faces  were 
suited  to  the  story  the  picture  had  to  tell.  This  is  one  of  the 
Madonnas  of  Love,  for  the  protecting  care  and  affection  of 
the  mother  and  the  loving  trust  and  confidence  of  the  Child 
are  the  chief  expressions  that  appeal  to  us.  The  elder  child 
of  the  cooper  was  made  to  represent  John  the  Baptist,  who 
stands  with  his  little  hands  folded,  in  an  adoring  attitude. 
His  eyes  are  full  of  love,  too.  This  is  the  look  we  should 
always  have  for  one  another — a  look  full  of  love  and  gentle- 
ness, for  you  know  we  are  all  "children  of  God." 


Madonna  of  the  Chair — By  Raphael 


106  ART    STUDIES    FOR    SCHOOLS 

Artist:  Hans  Holbein 

Birthplace :  Germany 

Dates :  1497-1543 

Subject  1:  Meyer  Madonna 

THERE  was  a  curious  custom  long  ago,  when  it  was  the 
exception  to  appreciate  and  patronize  the  arts,  of  put- 
ting into  a  picture  the  features  of  the  rich  man  or 
woman  who  ordered  the  painting  for  his  or  her  church  or  for 
some  convent  or  town  hall.  This  was  done  even  when  the 
subject  was  a  very  sacred  one.  A  striking  example  of  this, 
and  a  famous  one  at  the  same  time,  is  the  picture  called  the 
"Meyer  Madonna,"  by  Hans  Holbein. 

This  artist  was  born  at  Augsburg  in  1497,  but  was  brought 
up  at  Basel,  where  he  illustrated  some  of  the  works  of  Eras- 
mus, a  very  remarkable  man  about  whom  we  shall  wish  to 
read  some  time.  The  most  noted  work  Holbein  illustrated  was 
called  "The  Dance  of  Death,"  and  represents  Death  accom- 
panying every  rank,  age,  and  condition  of  persons,  from  the 
king  and  queen  down  to  the  smallest  infant,  to  show  that  no 
one  can  escape  his  acquaintance.  It  is  a  gloomy  subject,  but 
was  a  favorite  one  during  the  Middle  Ages. 

Besides  these  things,  Holbein  painted  sacred  subjects,  and 
in  the  one  shown  here  he  introduced  portraits  of  the  whole 
family  of  the  burgomaster,  Meyer,  who  ordered  the  painting 
as  a  tribute  to  the  help  of  the  blessed  Madonna  and  Child  in 
healing  his  little  sick  son.  There  has  been  more  conjecture 
over  some  of  the  figures  in  this  composition  than  over  any 
other  ever  painted.  Some  say  the  Infant  Jesus  represents  the 
sick  child,  he  having  changed  places  with  the  Madonna's 
Child,  who  is  standing  on  the  floor.  The  probable  explana- 
tion is  that  the  Infant  Jesus  is  represented  as  having  healed 
the  burgomaster's  son  by  taking  the  latter's  sickness  upon 
Himself,  and  extends  His  hand  in  blessing.  The  Meyer  baby 
stretches  out  his  plump,  well  arm  and  hand,  and  looks  at  them 
in  surprise. 

The  Madonna  appears  very  gracious  and  loving  as  she 
gazes  down  on  the  adoring  family: — the  burgomaster  at  the 
left  with  his  two  sons;  opposite  him  and  next  to  the  Madonna, 


Mkyer  Madonna — By  Hans  Holbein 


108  ART    STUDIES    FOR    SCHOOLS 

the  first 'wife;  next  to  her  the  living  wife,  and  her  daughter 
telling  her  beads.  The  original  of  this  painting  is  at  Darm- 
stadt, while  the  one  at  Dresden,  long  thought  to  be  the  orig- 
inal, has  been  pronounced  a  copy.  Holbein  did  not  follow 
the  Italian  Old'  Masters'  style,  but  shows  great  originality  of 
composition  and  expression. 

Through  the  efforts  of  Erasmus,  Holbein  was  sent  to  Eng- 
land to  execute  an  order  from  Sir  Thomas  More.  While  there 
he  distinguished  himself  as  a  portrait  painter,  receiving  the 
patronage  of  "bluff  King  Hal,"  as  Henry  VIII  was  called. 
The  painting  of  Sir  Thomas  More's  family  has  been  consid- 
ered very  remarkable.  Unfortunately,  the  original  was 
destroyed,  but  copies  of  parts  of  it  exist,  and  also  the  sketch 
of  the  first  plan  which  was  sent  to  Erasmus. 

Subject  II :    Portrait  of  Himself 

The  cut  opposite  shows  a  portrait  which  Holbein  painted 
of  himself. 

Holbein  lived  and  worked  over  three  hundred  and  seventy 
year?  ago,  and  everything  was  very  different  then  from  now: 
the  customs  of  the  people,  their  way  of  traveling,  the  costumes 
they  wore,  the  manner  of  talking  and  writing  (very  few  could 
write),  and  I  suspect  the  very  way  they  thought  was  different; 
so  you  see  it  is  necessary  for  us  to  know  something  of  the 
times  in  order  to  imagine  the  surroundings  of  the  Old  Masters. 
With  this  knowledge  we  gain  a  better  insight  into  the  ideas  of 
the  painter  and  into  his  motives;  then  we  enjoy  his  work  much 
more. 

Some  paintings  that  appear  very  curious  to  us  to-day  are 
valuable  as  being  the  best  of  their  time,  and  as  exerting, 
for  that  reason,  much  influence  on  public  taste  and  on  the 
development  of  art.  But  for  them,  the  beautiful  things  that 
have  been  produced  since  would  not  have  come  into  existence; 
so  let  us  try  to  study  a  picture  for  what  it  has  been  worth  in 
helping  art  grow,  and  not  attempt  to  compare  it  with  beauti- 
ful things  produced  under  very  different  circumstances. 


PuKTRAir    Ol     HiMSKLF — B}'   Holht'tH 


110  ART    STUDIES    FOR    SCHOOLS 

Artist :  Gustav  Karl  Ludwig*  Richter 

Birthplace :  Germany 

Dates:  1823-1884 

Subject :  Queen  Louise 

THIS  picture  has  been  extensively  reproduced  during  the 
past  fifteen  years.  It  represents  the  mother  of  the  first 
Emperor  of  Germany  after  its  reconstruction  into  an 
empire.  This  Emperor  was  Wilhelm  I,  who,  though  he  died 
as  recently  as  1888,  was  alive  during  Napoleon  Bonaparte's 
career,  and  was  a  boy  of  about  eight  years  of  age  when  his 
parents  were  so  cruelly  driven  away  from  their  home. 

There  is  a  pretty  story  about  Wilhelm  and  his  brother 
Friedi;ich  gathering  blue  corn-flowers  (what  we  call  'bache- 
lor's buttons")  to  cheer  their  mother,  Queen  Louise,  as  she 
sat,  dejected,  on  the  roadside  leading  from  Berlin,  mourning 
over  the  hard  fate  of  her  family.  There  is  also  a  story  of  the 
dread  Napoleon  I  felt  for  the  influence  of  this  noble  and  beau- 
tiful woman  at  the  time  of  the  Treaty  of  Tilsit.  She  was 
much  respected  and  beloved  by  her  people,  and  he  called  her 
"the  man  of  the  family,"  for  her  intellect  and  character  were 
superior  to  those  of  her  husband,  Friedrich  Wilhelm  HI.  and 
her  influence  on  the  terms  of  the  peace  more  to  be  feared  by 
her  country's  great  enemy. 

How  much  more  interest  this  picture  has  for  us,  now  that 
we  know  the  woman  it  represents  had  a  strong,  loving  char- 
acter ! 

The  painting  is  modern,  having  been  executed  by  Gustav 
Richter,  a  German  artist  widely  known  for  his  masterly  por- 
traits. Strictly  speaking,  "Queen  Louise"  is  not  a  portrait,  for 
it  is  said  that  a  lady  of  Berlin,  who  much  resembled  the  queen, 
posed  for  the  figure.  The  original  painting  hangs  in  the  Art 
Museum   at  Cologne. 

What  was  the  Treaty  of  Tilsit,  and  when  was  it  made? 


Queen  Louise— /?y  Richter 


c; 


112  ART    STUDIES    FOR    SCHOOLS 


Artist :  Thomas  Gainsborough 

Birthplace:   England 
Dates:  1727-1788 

Subject :        Mrs.  Siddons 

TILL  another  portrait  painter  of  much  fame  was  Thomas 
vj  Gainsborough,  an  Englishman.  The  youngest  son  of 
a  clothier,  he  was  born  down  in  the  country  in  1727.  In 
his  fifteenth  year  he  was  sent  up  to  London  to  study  with  a 
drawing  master  named  Gravelot,  from  whom  he  learned  the 
art  of  etching.  Gravelot,  recognizing  the  boy's  talent, 
obtained  admission  for  him  to  an  academy  where  Gains- 
borough worked  for  three  years  at  painting.  Then  he  opened 
a  studio  of  his  own  and  painted  a  few  landscapes  and  did 
some  modeling.  He  became  one  of  the  greatest  of  English 
artists,  and  was  one  of  the  original  members  of  the  Royal 
Academy. 

Gainsborough  painted  many  persons  of  distinction,  among 
them  the  famous  actress,  Mrs.  Siddons,  whose  portrait  is 
shown  here.  This  woman  was  the  daughter  of  an  actor 
named  Kemble,  who  put  her  on  the  stage  when  she  was  a 
mere  child,  so  her  whole  life  was  passed  before  the  footlights. 
It  was  much  more  rare  in  those  days  for  a  little  child  to  be  put 
on  a  theatrical  stage  than  it  is  now,  and  only  those  called 
"prodigies"  were  so  treated. 

Mrs.  Siddons  charmed  all  London  by  her  beauty  as  well  as 
by  her  talent.  She  was  in  the  habit  of  playing  at  the  theatre 
of  the  immortal  David  Garrick,  and  she  excelled  in  the  great 
plays  of  Shakespere  Do  you  notice  the  large  hat  with  plumes 
which  she  wears?  Gainsborough  had  a  great  fancy  for  paint- 
ing his  women  sitters  in  these  hats,  so  you  can  nearly  always 
tell  one  of  his  portraits  by  them.  For  many  years  this  style 
of  head  covering  was  called  the  "Gainsborough  hat,"  but  in 
our  day  it  more  frequently  receives  the  name  of  "picture  hat" ; 
you  can  easily  see  why. 


Mrs.  Siddons— ^>'  Gainsborough 


114  ART    STUDIES    FOR    SCHOOLS 


Artist :  Cyrus  Cobb  ^ 

Birthplace :   United  States 
Dates:  1834- 

Subject:        Paul  Revere's  Ride 

NOT  long  after  Thomas  Gainsborough  reached  London 
and  settled  down  to  his  peaceful  painting,  a  famous 
deed  was  performed  on  this  side  of  the  Atlantic  Ocean 
which  has  been  made  the  subject  of  painting  and  of  sculpture. 
This  was  Paul  Revere's  ride,  and  it  has  been  represented  in  a 
fine  and  very  spirited  way  by  one  of  our  own  American 
artists — the  sculptor  Cyrus  Cobb. 

It  is  not  necessary  to  go  to  the  works  of  European  artists 
to  find  occurrences  in  our  national  history  well  illustrated. 
The  artist  who  feels  a  subject  most  keenly  can  portray  it  best; 
and  who  can  value  the  great  events  in  the  history  of  our  coun- 
try as  can  those  who  have  breathed  its  air  from  their  cradles? 

Cyrus  Cobb  was  born  in  Maiden,  Mass..  in  1834.  He  and 
his  twin  brother  studied  art  together  and  it  is  said  that  they 
refused  opportunities  for  European  travel,  wishing  to  have  no 
teacher  but  Nature.  Cyrus  practised  law  in  Boston  for  several 
years,  but  now  devotes  his  time  to  his  art.  He  is  a  musician 
and  a  poet,  as  well  as  a  sculptor. 

You  have  of  course  heard  of  Paul  Revere's  midnight  ride 
and  the  lanterns  that  were  hung  in  the  tower  of  the  Old  North 
Church  in  Boston,  according  to  the  agreement — "one  if  by  land 
and  two  if  by  sea." 

At  the  left  of  this  scene  are  Colonel  Conant  and  Richard 
Devens,  advising  Paul  Revere  how  to  give  the  alarm  through 
Middlesex  County.  Devens  was  a  member  of  the  "Committee 
of  Safety."  The  two  men  engaged  in  concealing  the  boat  in 
which  Revere  rowed  from  Boston  to  Charlestown  are  Joshua 
Bentley  and  Thomas  Richardson.     They  were  all   patriots. 

That  was  a  time  that  tried  men's  souls.  Had  it  not  been 
for  fearless  men  such  as  these,  we  should  not  to-day  be  enjoy- 
ing the  blessings  of  liberty,  education,  material  prosperity, 
and  brotherly  love  which  distinguish  our  country. 

From  what  is  tbe  above  quotation  taken  ?  What  is  meant  by  "Commit- 
tee of  Safety"? 


Q 


116  ART    STUDIES    FOR    SCHOOLS 

Artist :  Jules  Bastien-Lepag'e 

Birthplace :   France 
Dates:  1848-1884 

Subject:        Joan  of  Arc 

THE  next  picture  takes  us  to  another  land  and  a  different 
epoch,  but  also  represents  something  renowned  in  his- 
tory— the  episode  of  Joan  of  Arc.  It  is  one  of  the  most 
singular  occurrences  in  the  story  of  human  events,  and  I  trust 
you  will  read  it  up  thoroughly.  There  were  many  intermar- 
riages during  the  past  centuries  between  members  of  the  royal 
houses  of  France  and  England,  so  there  came  a  time  when 
it  was  difficult  to  say  just  who  was  the  rightful  heir,  and  this 
question  was  put  to  the  test  of  war,  as  was  then  usual.  After 
long  years  of  conflict,  a  young  country  girl  claimed  to  have 
been  told  in  a  vision  that  she  should  lead  the  army  of  France 
to  victory.  She  performed  this  successfully  (1429),  and  as 
she  compelled  the  English  to  leave  Orleans,  she  is  often  called 
the  "Maid  of  Orleans." 

This  picture  of  the  unfortunate  "Maid"  is  by  J.  Bastien- 
Lepage,  a  well-known  French  historical  and  portrait  painter. 
It  represents  Joan  in  the  garden  of  the  inn  in  which  she 
served,  just  at  the  moment  when  she  saw  the  vision  of  herself 
fully  armed.  A  sword  is  presented  to  her,  while  she  is  com- 
manded by  a  voice  from  heaven  to  liberate  her  country.  It 
is  a  mystic  subject,  and  the  artist  has  certainly  succeeded  in 
giving  it  that  character. 

The  homely  details  of  the  picture  are  more  pleasing  in 
color,  as  they  serve  to  throw  into  strong  relief  the  powerful 
and  impressive  figure  of  the  woman,  with  her  rapt  gaze,  and 
also  the  representation  of  the  vision  floating  in  air,  the  face 
being  seen  among  the  leaves  of  the  trees.  This  is  far  beyond 
mere  landscape  or  figure  painting.  The  idea  is  not  solely 
to  give  a  pretty  play  of  light  and  shade,  or  a  graceful  pose  of 
the  human  form,  nor  simply  to  bring  before  the  observer  an 
historical  event:  it  is  an  attempt  to  grasp  the  mysterious 
springs  of  human  action  and  to. reveal  the  motive  power  that 
guides  the  progress  of  events  in  great  crises. 


Joan  op  Arc— ^^^  Jules  Bastten-Lepage 


118  ART    STUDIES    FOR    SCHOOLS 

«  •-* 

Artist :  Benjamin  West 

Birthplace :  America 

Dates:  1738-1820 

Subject:        The  Death  of  Wolfe 

THE  first  American-born  artist  to  attain  distinction  was 
Benjamin  West,  who  was  born  a  "Friend" — that  is,  of 
Quaker  parents — at  Springfield,  Penn.,  in  1738.  It  is 
said  that  his  first  lessons  in  painting  were  received  from 
Cherokee  Indians,  for  these  savages  understood  the  prepara- 
tion of  enduring  colors  from  natural  sources. 

When  only  eighteen  years  of  age  West  began  to  paint  por- 
traits in  Philadelphia.  He  was  so  fortunate  as  to  gain  the 
interest  of  a  Philadelphia  gentleman,  who  sent  h'm  to  Italy  to 
study.  After  three  years  in  Rome  he  went  to  England,  where 
he  spent  the  rest  of  his  life.  He  long  enjoyed  royal  favor, 
and  succeeded  Sir  Joshua  Reynolds  as  President  of  the  Royal 
Academy  of  Art. 

Benjamin  West  was  original  and  courageous  enough  to 
paint  the  figures  in  his  historic  scenes  clothed  in  the  style  of 
dress  of  the  era  he  was  representing.  Before  that,  classic 
draperies  were  considered  indispensable.  The  example  of 
his  work  here  given — "The  Death  of  Wolfe" — attracted  wide- 
spread attention  and  has  become  famous.  The  composition 
is  skilful,  bringing  into  prominence,  as  it  does,  the  figures 
of  General  Wolfe  and  the  companions  of  his  last  moments. 
The  strong  Indian  figure  crouched  wonderingly  before  him 
gives  a  contrasting  note,  while  the  background,  though  prop- 
erly subdued  as  to  detail,  distinctly  conveys  the  idea  of  bat- 
tle; the  clouds  of  smoke  rolling  away,  and  the  light  of  victory 
shining  out,  show  us  that  the  sacrifice  of  this  brave  and  bril- 
liant man's  life  was  not  in  vain. 

The  English  are  proud  to  claim  Benjamin  W'est,  but  we 
do  not  forget  that  he  was  an  American,  though  born  on  this 
continent  at  a  time  when  we  were  colonies  of  England. 


i 


120  ART    STUDIES    FOR    SCHOOLS 

Artist :  Salvator  Rosa 

Birthplace:  Italy 

Dates :  1615-1673 

Subject:  Diogenes  in  Search  of  an  Honest  Man 

DIOGENES  in  Search  of  an  Honest  ]\Ian"  was  painted 
by  one  of  the  most  illustrious  artists  of  his  time  and 
country — Salvator  Rosa,  born  near  Naples  in  1615. 
His  parents  were  poor  though  educated  persons,  and  wished 
to  have  their  son  prepared  for  the  service  of  the  church,  but 
genius  would  have  its  own  way,  just  as  was  the  case  with 
Michael  Angelo,  whose  father  intended  him  for  a  weaver,  and 
with  Correggio,  who  was  to  have  been  a  wood-cutter. 

As  a  boy,  Rosa,  like  the  great  Murillo,  had  to  sell  his  work 
in  the  marketplace  to  support  himself.  One  of  his  pictures 
attracted  the  attention  of  a  patron  of  the  arts,  who  placed  the 
young  artist  under  a  fine  teacher.  Merit  of  a  high  order  is 
sure  to  find  a  high  place,  and  finally  Rosa  was  employed  to 
paint  for  the  Grand  Duke  of  Tuscany  at  Florence,  and  for  the 
cardinals  at  Rome.  He  was  fearless  in  his  speech,  and  widely 
known  as  a  conversationist.  He  wrote  satirical  and  dramatic 
verses,  and  composed  some  beautiful  songs,  which  are  sung 
to-day  in  every  country. 

His  best  works  were  landscapes,  though  he  did  historical 
pictures,  and  wished  to  be  known  by  the  latter  subjects.  He 
depicted  the  wild  and  terrible  in  nature — shipwrecks,  banditti 
on  wild  mountainsides,  trees  torn  by  fierce  storms,  et  cetera. 

The  picture  reproduced  here  is  one  of  Rosa's  historical 
pieces.  Diogenes  was  a  cynic  philosopher;  that  is,  he 
despised  the  pleasures  and  even  the  comforts  of  life,  and 
especially  the  pretensions  of  men  to  goodness,  when  their 
lives  were  at  variance  with  their  professions.  He  preached 
practical  goodness  rather  than  the  holding  of  theories,  how- 
ever sublime.  He  is  said  to  have  gone  about  with  a  lantern, 
searching  for  what  he  considered  rare  indeed  —  an  honest 
man. 

In  what  country  and  near  what  beautiful  body  of  water  is  Naples  ? 
Look  up  the  story  of  the  visit  of  Alexander  the  Great  to  Diogenes. 


Diogenes  in  Search  of  an  Honest  Man— i9y  Salvator  Rosa 


1-2-2  ART    STUDIES    FOR    SCHOOLS 

Artist :  Joseph  Mallord  William  Turner 

Birthplace :  Eng-land 

Dates:  1775-1851 

Subject  I :  Calig-ula's  Palace  and  Bridg-e 

LET  us  look  now  at  two  pictures  by  an  Englishman  who 
was  one  of  the  greatest  of  landscape  painters  and  in 
many  respects  one  of  the  greatest  artists  of  the  world. 
This  is  J.  M.  W.  Turner,  who  was  born  in  London  just  four 
days  after  the  Battle  of  Lexington. 

In  "Caligula's  Palace  and  Bridge"  wonderful  power  of 
landscape  painting  is  displayed.  Everything  is  embodied 
that  a  perfect  landscape  demands — beauty  of  line  in  composi- 
tion, detail  in  the  foreground,  atmosphere  and  delicate  dis- 
tance, graceful  foliage,  water  clear  and  dazzling,  architecture 
that,  instead  of  introducing  stiffness,  lends  poetry  to  the  scene, 
and  living  forms  that  harmonize  in  their  classic  pose  and  dress 
with  the  time  set  forth.  It  is  truly  idyllic,  and  when  the 
charm  of  color  is  added,  no  wonder  a  result  is  produced  that 
captivates  all  beholders  and  at  once  places  William  Turner  in 
the  front  rank  of  true  artists  for  all  time. 

The  life  of  this  painter  is  an  interesting  one  to  read,  espe- 
cially the  early  years  of  it.  It  is  said  he  gave  signs  of  his 
artistic  ability  when  he  was  very  young  indeed,  by  drawing 
with  his  finger  in  spilt  milk.  His  first  sketch  of  a  building 
was  that  of  Margate  Church,  made  when  he  was  nine  years 
old.  At  school  he  drew  cocks  and  birds  and  trees  and 
flowers  on  the  walls,  while  his  schoolfellows  did  his  sums, 
that  he  might  indulge  his  artistic  proclivities.  At  a  very 
early  age  he  drew  portraits  of  his  father  and  mother  and  of 
himself.  Strange  to  say,  his  father  intended  him  for  a  barber, 
which  was  the  elder  Turner's  own  trade,  but  seeing  the  boy's 
great  natural  talent  for  art,  he  aided  him  in  its  development. 
William  early  became  a  wage-earner  by  making  both  black 
and  white  and  wash  drawings  for  architects  and  others. 

Up  to  the  time  Joseph  Mallord  William  Turner  startled  the 
English  public  with  his  original  and  brilliant  productions,  the 

What  was  the  date  of  the  battle  of  Lexington  ? 


I 


124  ART    STUDIES    FOR    SCHOOLS 

^  '\ 

palm  had  been  awarded  to  Claude  Lorraine,  a  Frenchman,  as^ 

the  greatest  landscape  painter  who  had  lived.     But  that  great 

art    critic,    John    Ruskin,    was  so  enthusiastic  an  admirer  of 

Turner  that  he  set  him  above  all  others — unjustly,  some  think. 

Turner  was  a  great  genius  and  a  most  wonderful  master  of 
color  effects,  but  his  drawing  was  not  always  good;  he  was 
willing  to  sacrifice  some  things  in  order  to  gain  new  and 
startling  effects  in  color. 

He  found  landscape  painting  in  a  deplorable  condition 
and  raised  it  to  a  height  it  had  never  before  attained.  He  was 
the  first  artist  who  dared  "paint  the  sun."  You  will  see,  even 
in  the  reproductions  of  his  paintings,  what  floods  and  bursts  of 
sunlight  are  displayed.  His  coloring  is  pure,  dazzling  even, 
and  delicate;  he  is  faithful  to  nature,  yet  his  is  the  truth-tell- 
ing of  the  poet  and  deep  thinker. 

When  he  died  he  bequeathed  his  paintings  to  the  nation 
(Great  Britain),  and  that  is  the  reason  we  see  so  few  of  them 
elsewhere,  for,  of  course,  England  would  not  part  with  them. 
Two  of  his  works  are  owned  by  the  Lenox  Library,  New  York; 
two  by  Mrs.  Vanderbilt;  and  the  much  talked-of  "Slave  Ship" 
is  the  property  of  Miss  Hooper  of  Boston. 

Subject  II :  The  Fighting'  Temeraire 

Outside  of  his  art  Turner  was  not  considered  a  brilliant 
man.  His  powers  of  intellect  were  concentrated  on  his  work, 
and  there  he  was  master.  He  excelled  in  those  landscapes 
where  water  formed  a  part  of  the  scene.  "The  Fighting 
Temeraire"  is  probably  the  most  popular  of  all  his  paintings. 
It  was  first  exhibited  in  the  National  Gallery  in  1839,  ^^^  's 
dear  to  Englishmen's  hearts.  The  contrast  between  the  man- 
of-war  and  the  pert,  pufifing  tug  is  a  good  example  of  modern 
progress  that  appeals  to  all.  The  patriotism  of  the  British 
is  stirred  by  the  sight  of  a  veteran  ship  of  their  navy,  of  which 
they  are,  as  you  know,  very  proud.  Let  us  hope  for  a  new 
order  of  things,  when  navies  and  war  are  no  longer  needed  ! 

When  and  where  did  the  "Temeraire"  distinguish  herself  ? 


I 


126  ART    STUDIES    FOR    SCHOOLS 

Artist :  Jean  Baptiste  Camilie  Copot 

Birthplace :  France 

Dates:  1796-1875 

Subject  I :  Dance  of  the  Nymphs 

HERE  is  a  very  charming  example  of  the  work  of  that 
landscape  painter  of  France  —  Jean  Baptiste  Camilie 
Corot  —  who,  though  born  in  1796,  has  not  yet  been 
surpassed  in  his  department  of  art. 

This  subject,  "Dance  of  the  Nymphs,"  shows  all  of  Corot's 
best  qualities — skilful  composition;  effective  distribution  of 
light  and  shade;  beautiful  drawing;  lightness  of  effect;  grace, 
joyfulness,  and  poetic  sentiment. 

Corot  was  born  in  Paris  and  educated  there.  He  had  no 
early  struggles  to  maintain  himself,  so  his  paintings  are  as 
full  of  joy  and  gayety  as  was  his  nature.  But  that  is  not  all 
they  contain:  they  are  poems,  every  one,  and  are  as  full  of  the 
tender  story  Nature  has  to  tell  us  as  a  symphony  by  Mozart. 
One  critic,  indeed,  calls  him  "the  Mozart  of  painting."  He 
has  also  been  called  "the  Schubert  of  landscape  painting," 
because  he  mollified  the  classics  and  was  powerfully  carried 
away  by  romanticism. 

His  was  a  dreamy,  poetic  nature.  As  a  boy,  he  loved  to 
hang  out  of  his  chamber  window  on  summer  nights  and 
watch  the  vapors  creep  up  from  the  meadows  and  lakes;  then 
he  would  imagine  a  fairy  dance  going  on,  as  the  mists  curled 
and  waved,  assuming  strange  shapes.  It  is  supposed  that  his 
manner  later  in  his  paintings — the  veil  of  mystery  pervading 
their  atmosphere — is  due  to  impressions  then  received.  The 
weird,  etherial  look  of  his  "Dance  of  the  Nymphs"  is  just 
what  we  should  expect  from  an  artist  of  his  temperament. 

Corot  sketched  in  the  open  air  all  summer — at  dawn,  sun- 
set, and  for  moonlight  effects.  These  sketches  he  worked  up 
in  his  studio  during  the  winter.  The  nature  he  painted  is 
called:  "A  nature  deliciously  impossible,  where,  in  the  uncer- 
tain twilight  of  dawn,  in  the  shade  and  retirement  of  great 
trees,  shrouded  in  mysteries,  we  hear  the  gentle  beating  of  the 

Who  were  Mozart  and  Schubert  ? 


Dance  ok  the  Nymphs — liy  Corot 


128  ART    STUDIES    FOR    SCHOOLS 

wings  of  awakening  love."  This  feeling  for  the  picturesque 
caused  him  to  rebel  against  the  "decorative,  abstract,  and 
arid"  style  of  painting  of  the  First  Empire.  One  writer  says: 
"All  his  physiognomy  is  made  of  two  elements,  gayety  and 
thought — the  lips  smile,  the  look  meditates." 

Subject  II:  Spring* 

This  is  another  of  his  pictures  that  seems  all  joy  and  glad- 
ness. Does  it  not  suggest  that  Nature  is  putting  on  her  spring 
dress  ?  The  tree  appears  to  be  fairly  rushing  into  leaf.  The 
maidens  and  children  are  anxious  for  the  first  blossoms;  the 
eldest  even  reaches  eagerly  beyond  her  height  for  the  beau- 
tiful things,  as  youth  always  does — youth  which  is  well  typi- 
fied by  awakening  spring. 

Corot  painted  industriously  for  many  years  before  his 
genius  brought  pecuniary  returns.  When  it  did,  he  displayed 
the  utmost  generosity  in  helping  poor,  struggling  artists.  At 
the  time  of  the  Siege  of  Paris,  he  expended  25,000  francs  for 
the  relief  of  the  needy. 

He  was  dearly  beloved  by  his  friends,  and  whatever  the 
differences  of  opinion  of  the  various  literary  men  of  his  day, 
they  united  in  praise  of  Corot  the  man,  even  those  among 
them  who  did  not  fully  understand  Corot  the  artist.  He  was 
called  "Pere  Corot"  (Father  Corot)  by  his  fellow-artists,  and 
they  caused  a  medal  to  be  struck  off  in  his  honor  just  before 
his  death  in  1875. 

For  his  works  he  received  many  medals  and  the  highest 
rewards  from  the  government,  being  elected  an  officer  of  the 
Legion  of  Honor.  After  his  death  the  pictures  and  sketches 
in  his  studio  were  sold  for  400.000  francs;  and  this  was  after 
he  had  presented  some  of  his  most  valuable  works  to  the 
Luxembourg.  Several  of  his  pictures  are  owned  in  the  United 
States,  and  I  hope  you  may  see  them  some  day;  for  no  matter 
how  good  the  reproduction  of  them  in  black  and  white,  the 
mysterious  charm  they  .possess  lies  in  the  coloring,  which  many 
have  tried  in  vain  to  imitate. 

When  was  the  Siege  of  Paris  ?    What  is  the  Luxembourg  ? 


C/3 


130  ART    STUDIES    FOR    SCHOOLS 

Artist :  Heinrich  Hofmann 

Birthplace:  Germany 

Dates:  1824- 

Subject :        Jesus  as  a  Boy  in  the  Temple 

HEINRICH  HOFMANN,  who  painted  this  picture,  was 
born  in  Darmstadt  in  1824.  He  is  a  portrait  and  his- 
torical painter  of  note  and  occupies  a  prominent  posi- 
tion in  the  art  circles  of  his  native  land.  In  1870  he  became 
a  professor  of  the  Art  Academy  in  Dresden. 

Anyone  who  goes  to  Meissen,  where  the  famous  porce- 
lain is  made,  will  be  well  repaid,  for  on  the  walls  of  the  old 
burg  there  one  will  see  the  beautiful  fresco,  "Betrothal  of 
Albrecht  the  Brave  to  Princess  Sidonie,"  by  Hofmann.  In 
this  Albrechtburg  the  secret  of  the  now  world-famed  porcelain 
manufacture  was  discovered  by  a  prisoner  of  noble  birth  who 
had  scientific  tastes  and  was  allowed  a  crucible  and  other 
implements  of  the  chemist  to  experiment  with  and  to  help 
pass  the  hours  of  imprisonment. 

In  the  Dresden  gallery  hang  several  of  Hofmann's  finest 
works,  among  them  the  subject  opposite,  which  he  calls 
"Jesus  as  a  Boy  in  the  Temple."  The  radiance  shining  from 
the  figure  and  face  of  the  youthful  Christ  is  lost  in  the 
reproduction  in  black  and  white;  color  is  required  for  that 
effect.  Most  rich,  most  luminous,  soft  but  clear,  are  those 
colors  in  reality,  while  the  figure  of  Jesus,  in  its  radiant  white 
robes,  is  unsurpassed  for  beauty  and  religious  inspiration  in 
all  art.  How  varied  are  the  Jewish  types  here  portrayed  ! 
And  yet  they  are  all  natural,  as  they  were  painted  from  living 
models  in  Dresden. 

Who,  seeing  a  picture  like  this,  can  say  that  artists  to-day 
have  no  religious  inspiration  and  can  paint  only  impression- 
istic scenes  from  nature  ?  Although  the  methods  of  modern 
artists  are  different  from  those  of  the  Old  Masters,  as  is  but 
natural,  they  are  often  impelled  by  as  pure  a  motive  and  as 
deeply  devotional  a  sentiment. 


132  ART    STUDIES    FOR   SCHOOLS 

Artist :  Gabriel  Charles  Ddnte  Rossetti 

Birthplace :  Eng-land 

Dates:  1828-1882 

Subject:         The  Blessed  Damozel 

THIS  picture  belongs  to  the  mystic  style  of  subject.     It  is 
the  work  of  a  very  interesting  man  who  was  born  and 
lived  in  England,  though  he  was  of  Italian  parentage — 
Gabriel  Charles   Dante  Rossetti.      His   father  was   an   Italian 
patriot,  a  commentator  on  Dante,  and,  after  taking  up  his  resi- 
dence in  London,  a  professor  of  Italian  at  King's  College. 

From  boyhood  Gabriel  was  an  admirer  of,  the  poems  of 
Dante,  and  in  after  years  took  many  subjects  for  his  paintings 
from  the  works  of  that  illustrious  genius.  Rossetti  was  him- 
self a  poet  of  great  feeling,  imagination,  and  pathos.  One  of 
the  most  beautiful  things  he  wrote  is  "The  Blessed  Damozel," 
and  he  painted  the  picture  from  which  this  head  is  taken,  to 
illustrate  the  poem. 

Rossetti  possessed  the  most  vivid  personality  and  the 
rarest  imagination  of  any  man  of  his  day.  He  seldom  exhibited 
his  paintings,  and  they  are  now  for  the  most  part  in  private 
collections  in  England.  He  was  one  of  the  founders  of  what  is 
called  the  Pre-Raphaelite  school  of  painting,  which  attempted 
to  promote  the  study  of  nature  itself  rather  than  of  the  great 
masters  of  Raphael's  day  and  immediately  after. 

Those  who  believed  in  the  doctrines  of  the  Pre-Raphaelites 
were  known  as  the  Brotherhood,  and  published  a  journal 
called  The  Germ.  "The  Blessed  Damozel"  was  contributed  by 
Rossetti  to  this  organ.  Following  is  a  descriptive  verse  of 
the  poem: — 

The  blessed  damozel  leaned  out 

From  the  golden  bar  of  heaven ; 
Her  eyes  were  deeper  than  the  depth 

Of  waters  stilled  at  even ; 
She  had  three  lilies  in  her  hand, 

And  the  stars  in  her  hair  were  seven. 

Rossetti  preferred  to  write  his  name  "Dante  Gabriel  "  and 
it  IS  thus  we  usually  see  it  given. 

Who  was  Dante  ?    Of  what  artist  was  he  a  friend  ? 


The  Blessed  Damozel— />'j  Dante  Gabriel  Rossetti 


134  ART    STUDIES    FOR    SCHOOLS 

ArtiM:  Sir  Edward  Burne-Jones 

Birthplace:  Eng-land 
Dates:  1833-1898 

Subject  I:     Winter 

HERE  is  the  reproduction  of  a  painting  by  a  famous  and 
a  very  charming  artist  of  Welsh  descent,  born  in  Bir- 
mingham, England,  in  1833.  His  name  was  Edward 
Burne-Jones,  and  he  was  knighted  for  his  great  services  to  art. 

Sir  Edward  Burne-Jones  was  one  of  a  distinguished  group 
of  men  whose  achievements  have,  during  the  past  fifty  years, 
shed  a  lustre  on  the  name  of  England.  His  friend  and  teacher 
was  Dante  Gabriel  Rossetti — of  whose  "Blessed  Damozel"  you 
have  just  read — and  in  his  first  work  he  showed  a  tendency  to 
imitate  Rossetti's  manner,  which  he  later  abandoned,  how- 
ever, for  a  style  of  his  own. 

This  artist's  parents  intended  that  he  should  become  a 
minister  of  the  gospel,  and  he  was  sent  to  Exeter  College, 
Oxford,  but  his  great  talent  for  art  was  not  to  be  suppressed. 
On  the  same  day  that  he  entered  Oxford  another  young  Welsh- 
man, William  Morris,  began  his  studies  at  the  university,  and 
these  two,  who  were  destined  to  become  illustrious,  grew  to 
be  firm  friends.  The  poet  Swinburne  was  a  collegemate  of 
theirs,  and  dedicated  his  first  volume  of  poems  to  Burne-Jones. 

The  circle  of  which  these  young  men  later  became  a  part 
included  the  eminent  artist,  teacher  and  poet  Rossetti,  John 
Ruskin,  Robert  Browning  and  Alfred  Tennyson. 

Burne-Jones  and  William  Morris,  the  poet  and  artist,  worked 
together  from  their  earliest  college  days,  and  each  was  a  great 
help  and  inspiration  to  the  other.  They  had  high  ideals  and 
a  love  for  the  deep  and  mystical  in  nature.  Burne-Jones, 
especially,  inclined  to  idealism  and  abstract  beauty  rather 
than  to  realism.  Man}^  of  his  works  are  symbolic.  His 
drawing  is  original  in  its  style,  but  graceful  and  correct;  his 
coloring  pure,  brilliant,  soft.  He  designed  many  stained 
glass  windows  that  have  become  noted.  One  is  in  Trinity 
Church,  Boston,  and  is  called  "David  Instructing  Solomon  in 
the  Building  of  the  Temple." 


WiNTKR — By  Burnt-Jones 


136  ART    STUDIES    FOR    SCHOOLS 

Subject  II:   The  Golden  Stair        *? 

This  example  of  Burne-Jones's  work  is  reproduced  from  a 
water  color — one  of  the  paintings  made  between  1870-77, 
when  he  was  not  showing  any  of  his  pictures  to  the  public, 
but  was  working  steadily  to  build  up  his  art  for  future  recog- 
nition. 

Some  one  has  said:  "The  impression  of  this  picture  is  that 
of  a  poem  set  to  exquisite  music."  The  fresh,  fair  young 
girls  are  painted  in  monochrome  (which  means  the  hues,  tints, 
^and  shades  are  of  one  color),  and  the  effect  is  as  sweet  and 
pure  as  the  thought  of  youth  should  always  be.  The  harmony 
of  pose  and  of  movement,  yet  the  pleasing  variety  at  the  same 
time;  the  long  sweeps  of  the  curves  that  affect  you  like  a  deep 
draught  of  fresh  air;  the  calm,  serious  faces — all  are  worthy  of 
earnest  study,  and  cannot  fail  to  inspire  one  with  good 
thoughts. 

That  is  what  a  really  fine  picture  always  does — suggests 
noble  thoughts.  The  more  we  study  such  examples  of  true 
art,  the  more  cultured  we  shall  become,  in  the  best  sense,  for 
our  activities  of  brain,  of  heart,  and  of  moral  life  will  be 
stimulated  and  enlarged. 

This  artist  died  June  17,  1898,  and,  it  is  hardly  necessary 
to  add,  his  death  was  a  great  loss  not  only  to  the  art  world, 
but  to  the  world  in  general.  For  a  person  of  refined  nature, 
worthy  ambition,  and  genial  personality  exerts  a  wonderful 
influence  for  good  on  all  those  who  know  him  or  his  works. 


The  Golden  Stair — By  Bur)u 


138  ART    STUDIES    FOR    SCHOOLS 

Artist*:  Sip  Laurens  Alma-Tadema 

Birthplace:  Holland 

Dates:  1836- 

Subject:  A  Reading  from  Homer 

THE  next  picture  is  from  a  painting  by  a  very  interesting 
artist  who  is  living  to-day  in  London — Laurens  Alma- 
Tadema.  He  was  born  in  Dronryp,  Holland,  in  1836, 
and  early  conceived  a  passion  for  Egyptian  and  Graeco-Roman 
archaeology,  which  greatly  influenced  the  style  he  adopted  in 
his  work. 

Alma-Tadema  holds  a  unique  place  in  English  art.  Born 
in  Holland  and  inheriting  the  independence  and  frank  orig- 
inality of  his  countrymen,  he  still  possesses  a  taste  for  the 
classic,  and  it  is  the  combination  of  these  two  qualities  that 
gives  the  peculiar  distinctiveness  to  his  compositions.  While 
he  places  his  personages  of  ancient  Greece  and  Rome  among 
appropriate  and  harmonious  surroundings,  he  makes  them 
alive.  That  is,  they  walk,  they  talk,  they  eat  and  drink,  they 
laugh,  they  read,  and  they  do  all  this  very  much  as  we  do;  so 
there  is  a  familiar  quality  about  his  works  that  has  con- 
tributed to  their  success. 

The  characters  he  represents  do  not  simply  pose  in  stiff 
togas  or  chitons,  but  move,  and  breathe  forth  their  enjoyment 
of  life.  "A  Reading  from  Homer"  illustrates  this.  How  nat- 
ural that  pose  of  the  listener,  face  downward  on  the  ground  ! 
Scarcely  a  child  but  knows  that  position,  and  we  think  of  the 
Greeks  as  children  of  nature,  so  it  seems  especially  fitting. 
Note  the  pure,  graceful  curves,  the  fine  sense  of  proportion, 
and  the  beauty  of  expression  all  through  this  picture. 

Alma-Tadema  has  been  made  member  of  the  Royal  Acad- 
emies of  five  different  countries  at  least,  and  has  received 
many  medals.  He  became  a  naturalized  British  subject  in 
1873,  and  was  knighted  by  the  late  Queen  Victoria.  He  mar- 
ried an  Englishwoman  who  paints  well,  and  has  a  daughter 
who  paints  better  (so  I  have  heard  him  say)  than  he  does 
himself. 

In  what  countries  were  togas  and  chitons  worn  ?     Who  was  Homer  ? 


I 

ei 
H 
S 

o 
W 

o 


Artist : 

John  S 

Birthplace 

:  Italy 

Dates : 

1856- 

Subject: 

Hosea 

UO  ART    STUDIES    FOR    SCHOOLS 


Sarg-ent 


JOHN  S.  SARGENT  was  oorn  in  1856  in  Florence,  Italy, 
of  American  parents.  He  has  lived  and  painted  many- 
years  in  Europe,  and  his  studio  is  now  in  Paris.  "Hosea" 
is  a  detail  from  the  frieze  designed  by  him  for  the  Boston 
Public  Library,  representing  the  prophets  of  the  Old  Dispen- 
sation. This  frieze  is  a  part  of  the  decoration — as  yet  unfin- 
ished— of  an  upper  corridor,  and  represents  the  history  of 
religion,  from  the  early  days  of  idolatry  and  through  the 
period  of  Jewish  captivity.  Each  prophet's  figure  and  expres- 
sion is  conceived  and  carried  out  in  accordance  with  the  char- 
acter portrayed  in  the  books  of  the  Old  Testament. 

In  examining  the  whole  frieze,*  one  will  notice  that  the 
groups  at  the  left  are  composed  of  figures  in  mourning  or 
despairing  attitudes,  while  those  in  groups  at  the  right  are 
hopeful,  expectant — looking  for  the  fulfilment  of  the  promises 
of  prophecy.  Yet  in  each  group  there  is  a  contrasting  figure, 
and  Hosea  is  the  hopeful  prophet  in  the  sad  group  at  the 
extreme  left.  It  is  said  that  this  youthful  Hosea  is  the 
favorite  figure  of  the  artist. 

We  notice  that  the  intent  of  the  best  artists  is  to  put  into 
their  paintings  something  besides  mere  beauty  of  face  or  figure, 
historical  suggestion,  or  a  pleasing  effect  of  water,  trees,  or 
mountains.  Their  aim  is  to  fathom  the  thought  back  of  all 
this — the  purpose  of  the  Creator  in  surrounding  us  with  so 
much  goodness  and  beauty — and  to  bring  their  interpretation 
of  this  purpose  before  the  mind  of  the  observer  in  a  way  to 
arouse  deep  thought  and  earnest  feeling. 

*  Such  excellent  reproductions  of  this  frieze  have  been  made,  singly  as  well  as  in 
groups,  that  it  may  be  easily  studied. 


Sargent 


142  ART    STUDIES    FOR    SCHOOLS 

Artist:  Guido  Reni  '^ 

Birthplace :  Italy 

Dates:  1575-1642 

Subject:  Aurora 

THIS  picture  is  probably  familiar  to  you,  for  it  is  a  great 
favorite  and  has  been  reproduced  by  photography  and 
engraving  during  many  years.  It  is  by  an  Italian 
artist,  Guido  Reni,  who  is  generally  called  by  his  first  name 
alone.  His  works  belong  to  three  classes — historical, 
mythological  and  portraiture.  The  "Aurora"  is  of  the  second 
class  and  was  painted  at  Rome,  where  it  is  owned  in  the 
Rospigliosi  Palace.  The  Dawn  is  represented  as  a  beautiful 
woman  who  precedes  the  chariot  of  Apollo,  the  Sun-God,  as 
he  rides  across  the  heavens  to  awaken  the  Day. 

Guido  Reni  was  the  son  of  a  well-known  musician  and 
singer,  who  intended  that  his  son  should  follow  the  same  pro- 
fession as  himself,  but  the  boy's  genius  for  art  was  early  dis- 
covered by  a  celebrated  Flemish  painter  living  in  the  city  of 
Bologna,  where  Guido  was  born,  November  4,  1575.  Guido's 
father  taught  him  to  sing,  and  to  play  the  harpsichord  and  flute, 
but  this  did  not  satisfy  his  artistic  longings;  and  in  after 
years  he  used  to  tell  how,  as  often  as  he  dared,  he  would  run 
away  from  the  harpsichord  and  draw  rude  sketches  and  form 
figures  in  clay. 

In  the  studio  of  the  Flemish  artist  he  made  such  progress 
that  at  the  age  of  thirteen  years  he  was  allowed  to  teach  some 
of  the  other  pupils.  Yet  his  modesty  and  dignity  were  remark- 
able, and  he  won  the  respect  of  all  who  knew  him.  You  see 
there  is  a  lesson  to  be  learned  from  this  talented  boy  who  lived 
over  three  hundred  years  ago. 

Guido  was  so  beautiful  that  one  of  his  teachers,  the  illus- 
trious Annibale  Carracci,  painted  him  as  an  angel  in  several 
pictures. 

He  was  passionately  fond  of  music,  and  during  his  last 
illness  his  friends  had  musicians  play  in  the  hall  just  outside 
his  chamber.  The  effect  upon  him  was  soothing,  and  as  he 
wiped  away  his  tears  he  cried:  "And  what,  then,  will  be  the 
melodies  of  Paradise  ?"      He  died  August  18,  1642. 


I 


144  ART   STUDIES    FOR   SCHOOLS 

Artist :      Unknown  (Possibly  Guido  Reni) 
Subject:   Beatrice  Cenci 

ANOTHER  picture  which  has  been  ascribed  to  Guido 
Reni  is  this  mournful  but  lovely  portrait  of  a  woman, 
supposed  for  years  to  be  that  of  Beatrice  Cenci;  but 
many  modern  critics  and  historians  contend  not  only  that  the 
work  was  not  executed  by  this  artist,  but  that  the  painting  is 
not  the  likeness  of  the  unfortunate  princess  whose  history  is 
so  sad.  If  it  was  painted  by  Guido,  it  cannot  be  a  real  por- 
trait of  poor  Beatrice,  for  she  was  put  to  death  almost  ten 
years  before  he  began  his  work  in  Rome. 

Modern  critics  seem  very  harsh  and  cruel  sometimes  when 
they  take  away  our  cherished  traditions — robbing  us  of  our 
belief  in  William  Tell,  for  instance,  and  even  destroying  our 
faith  in  King  Arthur  and  his  knights.  But  it  is  because  they 
are  searching  for  truth  that  they  do  it;  and  it  is  better  to  have 
the  true  statement  about  anything  than  the  prettiest  legend 
that  could  be  invented. 

After  all,  to  appreciate  the  true  loveliness  of  the  picture  it 
is  not  necessary  to  know  the  artist,  or  whose  likeness  it  is. 
The  original  painting  is  in  the  Barberini  Palace  in  Rome 


Beatrice  Cknci— A r//s/   Unknown 


146  ART    STUDIES   FOR   SCHOOLS 


Artist:  Emile  Renouf 

Birthplace:  France 
Dates:  1845-1894 

Subject:        A  Helping  Hand 

HERE  is  a  very  attracti\'e  scene,  and  one  that  appeals 
strongly  to  the  sense  of  humor  of  the  spectator;  for  it 
is  very  plain  to  us  that,  though  this  dear  little  girl 
thinks  she  is  helping  grandpa,  in  reality  the  heavy  oar  is  alto- 
gether too  much  for  her  tiny  hands  to  grasp  or  her  frail  arms 
to  move.  Her  proud  and  loving  grandfather  is  evidently 
humoring  her,  however,  in  the  belief  that  she  is  of  great  assist- 
ance; in  fact,  she  probably  feels  sure  the  boat  could  never 
reach  shore  but  for  her  help. 

Did  you  ever  see  a  little  maid  dressed  just  like  this? 
Probably  not,  for  as  the  artist,  Emile  Renouf,  was  born  in  Paris 
and  painted  French  scenes  chiefly,  we  may  feel  tolerably  sure 
that  she  is  a  little  French  peasant  girl,  living  in  one  of  the 
fishing  settlements  on  the  coast  of  France.  Emile  Renouf 
painted  landscapes,  marine  views,  and  genre,  and  received 
several  medals  for  his  work.     In  1886  he  visited  America. 

When  studying  another  picture  we  learned  that  the  line 
where  earth  and  sky  seem  to  meet  (called  the  horizon)  should 
never  be  just  across  the  middle  of  the  picture;  we  also  learned 
that  the  principal  object  should  never  be  in  the  middle  of  the 
space  from  left  to  right.  The  sky  line  in  this  picture  seems 
to  cut  directly  across  the  old  fisherman's  cap,  but  the  sea 
mists  are  so  thick  in  the  distance  that  the  horizon  is  very 
indistinct.  The  figure  of  the  old  man  is  certainly  in  the  middle 
of  the  canvas,  half  way  from  left  to  right,  but  is  he  the  main 
object  in  the  picture?  Is  he  the  one  who  is  lending  a  helping 
hand?  No,  it  is  the  quaint  little  maid  who  is  the  object  of 
greatest  interest,  and  she  is  to  the  left  of  the  middle  of  the 
picture,  so  our  rule  is  observed,  after  all. 


us  ART   STUDIES    FOR   SCHOOLS 


Artist :  William  Morris  Hunt 

Birthplace :  United  States 

Dates:  1824-1879 

Subject:  June  Clouds 

UNTIL  a  very  few  years  ago  you  might  have  met  in  Bos- 
ton a  tall,  slim  man,  with  a  long  gray  beard,  upon  whom 
everyone  looked  with  great  respect,  and  whose  words 
were  most  attentively  listened  to  by  all  those  persons  fortunate 
enough  to  know  him.  Especially  attentive  were  they  when 
he  discoursed  on  art,  for  he  ranks  as  the  best  American  painter 
of  the  last  half  of  the  nineteenth  century,  and  was  no  other 
than  William  Morris  Hunt,  who  executed  "J'J"^  Clouds." 

This  artist  was  born  in  Brattleboro,  Vermont,  in  1824. 
He  was  a  student  at  Harvard  for  three  years,  but  left  college 
on  account  of  ill-health,  and  went  abroad.  He  spent  a  winter 
in  Italy,  and  then  went  to  Diisseldorf,  where  he  studied  with 
the  idea  of  becoming  a  sculptor.  Next  taking  up  his  resi- 
dence in  Paris,  he  began  to  paint.  One  day  he  came  across 
some  of  Millet's  work,  and  immediately  set  out  to  look  for 
this  new  master.  As  we  know,  he  found  Millet  living  in  the 
little  village  of  Barbizon,  and  became  not  only  a  pupil  but  a 
warm  friend  of  the  great  French  artist. 

Returning  to  America  in  1855,  Mr.  Hunt  opened  an  art 
school  in  Boston  and  taught  by  criticism,  as  French  masters 
do;  and  never  was  teacher  more  kind  or  more  anxious  to  help 
each  student  to  make  the  most  of  his  talent  and  ability. 

Morris  Hunt  possessed  the  power  of  making  the  simplest 
subject  interesting  because  of  the  truthfulness  to  nature 
expressed  in  it — truthfulness  in  form,  in  color,  in  feeling. 
His  works  are  owned  by  art  lovers  all  over  the  United  States, 
and  many  are  in  the  Art  Museum  at  Boston.  Some  very  fine 
decorations  in  the  Capitol  at  Albany,  New  York,  are  by  him, 
and  he  also  executed  a  number  of  masterly  portraits. 

The  subject  given  here  is  simplicity  itself,  and  shows  the 
master  from  the  fact  that  in  spite  of  its  simplicity  it  is  inter- 
esting. If  you  could  see  the  beautiful  coloring  of  the  orig- 
inal—the soft  grays  and  blues  of  the  clouds,  the  tender  and 
varied  greens  of  the  trees  and  of  the  foreground — you  would 


Junk  Clouds — Hy  William  Morris  Hunt 


150  ART   STUDIES   FOR    SCHOOLS 

be  even  more  pleased  with  it.  The  presence  of  the  bov  and 
girl  on  the  little  bridge  adds  the  touch  of  human  nature  that 
every  picture  needs  to  make  it  perfectly  successful.  Have 
you  not  been  in  just  such  a  quiet  place  on  a  June  day  and  seen 
the  clouds  pile  up  exactly  as  they  do  here? 


Artist :  G.  A.  Holmes 

Birthplace  :    England 
Dates :  Unknown 

Subject :        Can't  You  Talk  ? 

IT  IS    not   always   the   famous   pictures   of    the   world    that 
appeal  most  strongly  to  the  observer,  or  to  the  greatest 
number  of  persons.     Whether  the  artist  be  widely  known 
or  not,  evidence  of  genuine  feeling  in  his  work  stirs  the  heart 
when  his  compositions  are  studied. 

The  picture  entitled  "Can't  You  Talk?"  is  a  charming  bit 
of  primitive  nature,  where  the  kinship  between  all  forms  of 
animal  life  is  the  underlying  thought.  The  dear  little  baby — 
whose  intellect  has  not  yet  reached  the  stage  of  development 
where  it  recognizes  the  superiority  of  man  over  other  creatures 
— feels  only  the  bond  of  affection  and  sympathy  between 
himself  and  the  noble  animal  seated  before  him.  We  almost 
expect  the  dog  to  answer  baby's  question:  "Can't  You  Talk?" 
He  surely  looks  wise  enough  to,  should  the  power  of  speech 
be  granted  him  for  the  purpose.  Another  sympathetic  touch 
is  added  by  the  kitten  peering  through  the  doorway,  as  though 
greatly  interested  in  what  is  going  on.  Altogether  this  is  a 
very  satisfactory  picture,  and  one  which  leaves  a  pleasant 
impression  on  the  mind. 


152  ART   STUDIES    FOR   SCHOOLS 

'\ 
Artist :  Henri  Lerolle 

Birthplace:    France 
Dates:  1848- 

Subject:         The  Shepherdess 

WHAT  a  gentle,  restful  scene  is  presented  here!  It  is  by 
Lerolle,  the  artist  who  painted  that  beautiful  picture 
of  the  shepherds'  vdsit  to  the  infant  Saviour  as  He  lay 
in  the  lowly  manger  at  Bethlehem. 

The  composition  of  this  picture  is  calculated  to  inspire  a 
feeling  of  tranquillity.  The  sheep  themselves  typify  peace 
and  gentleness;  the  broad  field  stretching  into  the  hazy  dis- 
tance makes  us  think  of  a  warm  summer's  day,  which  idea  is 
added  to  by  the  facts  that  the  animals  seem  thirsty,  and  that 
the  shepherdess  has  taken  off  her  kerchief  and  carries  it  on  a 
stick  over  her  shoulder.  The  foliage  of  the  trees  is  not 
luxuriant  enough  to  give  the  impression  of  great  vigor  or 
energy,  and  the  cot  in  the  distance,  at  the  right  of  the  back- 
ground, hints  of  a  place  of  rest  and  shelter  at  the  close  of  day. 
There  is  something  particularly  good  about  the  arrangement 
of  these  tree-trunks,  and  about  that  sheep  in  the  foreground 
which  appears  on  the  point  of  touching  the  hand  the  girl  holds 
out. 

What  does  the  picture  suggest  to  you?  Does  it  not  put 
you  in  mind  of  the  vacation  that  is  approaching,  when  you 
will  go  into  the  country  and  see  just  such  flocks  of  sheep,  with 
soft  white  wool  ?  But  you  will  not  find  a  girl  like  this  taking 
care  of  them,  for  we  do  not  have  shepherdesses  in  our  country, 
as  they  have  in  France,  where  this  one  lives.  For  this  is  a 
French  landscape,  you  know,  and  that  is  a  French  peasant's 
hut  in  the  distance. 

When  this  picture  was  first  exhibited  it  was  enthusiastically 
received  by  the  French  people,  and  the  government  pur- 
chased it  very  soon  after  it  appeared 


^ 
^ 


154  ART   STUDIES   FOR   SCHOOLS 

*i -^ — 

Artist:  Johann  Geopg  Meyer  (von  Bremen) 

Birthplace :  Germany 

Dates:  1813-1886 

Subject:  The  Pet  Bird 

THE  Pet  Bird"  is  by  an  eminent  and  very  popular 
painter  of  genre  pictures — Johann  Georg  Meyer, 
better  known  as  Meyer  von  Bremen,  as  he  was  born 
in  the  city  of  Bremen  (October  28,  1813).  He  was  a  pupil  of 
the  Diisseldorf  Academy,  which,  in  his  student  days,  was  the 
most  celebrated  art  school  in  Europe.  The  school  of  Munich 
became  its  rival,  and  Paris  now  holds  first  place,  on  account  of 
the  great  number  of  masters  of  all  nations  gathered  there. 

]\Ieyer  von  Bremen  began  his  art  career  by  painting  bibli- 
cal subjects,  but  soon  made  a  journey  into  the  mountains 
(Harz  and  Tyrol),  and  studied  there  the  types  of  life  which 
have  served  in  his  many  popular  genre  scenes.  In  1863  he 
became  a  professor  in  the  Berlin  Academy.  He  received  a 
medal  for  work  shown  at  the  Philadelphia  Exposition  (called 
the  Centennial),  and  many  of  his  best  paintings  are  owned  in 
New  York  and  Philadelphia. 

This  pretty  home  scene  speaks  for  itself.  The  bird  is  being 
fed  on  a  morsel  from  the  children's  lunch,  and  the  little  fellow 
has  saved  a  piece  which  he  seems  anxious  to  give  to  the  pet, 
the  expression  indicating  this  being  made  more  apparent  by 
the  gaze  of  his  elder  sister,  fixed  so  interestedly  on  him. 
These  children  have  been  taught  to  be  kind  to  dumb  creatures, 
we  feel  sure,  besides  having  gentle  instincts. 

The  thoughts  aroused  by  the  picture  are  so  pleasant  and 
natural  that  we  almost  forget  the  effect  is  due  to  the  mastery 
of  art.  There  is  no  apparent  striving  after  effect;  the  very 
simplicity  and  sweetness  of  the  subject  and  its  treatment  are 
what  appeal  to  us.  Such  a  picture  is  a  bit  of  history,  too,  por- 
traying the  customs,  the  costumes  and  the  furniture  of  the 
period,  which  fact  gives  it  an  added  value. 


Why  was  the  exposition  held  at   Philadelphia  in  1876  called  the  Cen- 
tenniaP 


The  Pet  Bird— ^^  Meyer  von  Bremen 


156  ART   vSTUDIES   FOR   SCHOOLS 

Artist :  Sir  Edwin  Henry  Landseer 

Birthplace :  England 

Dates:  1802-1873 

Subject  I:  The  Sick  Monkey 

HERE  we  have  one  of  the  fine  nature  studies  of  Sir  Edwin 
Landseer,  who,  though  a  portrait  painter  of  merit,  is 
noted  chiefly  for  his  pictures  of  animals.  His  great 
talent  lay  in  his  power  to  portray  those  qualities  in  dumb 
brutes  that  show  their  kinship  with  man. 

The  mother-instinct  of  loving  protection  and  care  for  the 
suffering  offspring  is  the  attractive  element  in  this  picture, 
and  the  effect  is  enhanced  by  the  very  evident  indifference  of 
pater  familias,  who  is  coolly  enjoying  his  melon  and  has 
greedily  provided  himself  with  another  piece  of  fruit,  which 
he  guards  betv/een  his  hind  paws.  Grotesque  though  these 
creatures  are,  the  expression  of  love  as  shown  by  the  mother, 
makes  the  scene  appeal  strongly  to  human  sympathies. 

Edwin  Landseer  was  born  in  London  in  1802.  At  the  age 
of  five  years  he  made  sketches  showing  his  appreciation  of 
animal  character  and  humor,  and  work  that  he  did  when  only 
ten  years  old  was  exhibited  in  1874  at  the  Royal  Academy. 
It  is  hardly  to  be  wondered  at  that  the  boy  should  develop 
great  talent,  as  there  were  in  his  immediate  family  no  less 
than  eight  persons  who  attained  distinction  as  artists:  his 
father,  John  Landseer,  a  famous  engraver,  whose  lectures  on 
engraving  before  the  Royal  Institute,  and  persistent  efforts, 
did  so  much  to  raise  the  status  of  his  artcraft;  his  uncle, 
Henry  Landseer,  a  painter;  his  eldest  brother,  Thomas,  an 
engraver,  whose  finest  work  is  his  engraving  of  Rosa  Bonheur's 
"Horse  Fair,"  and  who  has  done  much  by  his  reproductions 
of  Sir  Edwin's  paintings  to  make  the  latter  well  known;  his 
eldest  sister,  Mrs.  Christmas;  his  sisters  Emma  (Mrs.  Mac- 
kenzie) and  Jessie,  and  his  brother  Charles. 

Edwin  and  his  brother  Thomas  together  wrote  and  illus- 
trated several  books  for  young  people,  among  them  "Stories 
about  Dogs,"  and  "Stories  Illustrative  of  the  Instinct  of 
Animals,"  both  published  in  1864. 

This    artist    had    every  advantage    of  study  in  his  youth. 


■^ 

^^^^^^^ 

1 

1 

^m'>' 

^^^^^^^^^^^^H« 

■'^^^m^' 

The  Sick  Monkey — By  Sir  Edwin  Landseer 


158  ART    STUDIES    FOR    SCHOOLS 

■"  .  '^         . 

and  afterward  enjoyed   the  favor  of  the  English   royal  family. 

The   late   Queen   Victoria,    whose    love    for    animals    is    well 

known,  was  a  great  admirer  of  his  pictures,  and  proved  a  true 

friend  to  him.      He  painted  portraits  of  the  queen  and  various 

members  of  her  family,  and  taught  her  and  her  husband  how 

to  etch. 

Landseer  was  knighted  in  1850,  as  a  reward  for  the  excel- 
lence of  his  works,  and  he  was  the  only  Englishman  honored 
by  a  gold  medal  from  the  World's  Exposition  at  Paris  in  1873. 

Although  Sir  Edwin  painted  lions,  monkeys,  deer,  and 
other  animals,  his  fame  rests  on  his  dogs.  As  one  critic 
said,  "The  best  defenders  of  his  genius  are  his  dogs  them- 
selves." There  was  a  clergyman  in  those  days,  known  as 
Sydney  Smith,  who  was  also  a  great  wit.  When  asked  if  he 
would  not  sit  to  Edwin  Landseer  for  his  portrait,  he  replied: 
*Ts  thy  servant  a  dog,  that  he  should  do  this  great  thing:  ' 

Subject  II :  Alexander  and  Diog-enes 

Look  at  this  example  of  Landseer' s  work.  What  a  story  it 
tells;  what  humor  it  shows!  If  you  will  read  the  story  of  the 
visit  of  Alexander  the  Great  to  Diogenes,  you  will  under- 
stand why  the  artist  named  the  picture  as  he  did. 

Edwin  Landseer's  friendship  with  Sir  Walter  Scott — also  a 
lover  of  dogs — and  a  visit  made  to  that  author  in  Scotland, 
helped  develop  the  romance  and  imagination  of  the  artist's 
nature.  He  differs  from  Rosa  Bonheur  in  showing  the  rela- 
tion of  dumb  animals  to  human  beings,  and  telling  stories  with 
his  pictures.  The  French  artist  rareh^  did  this;  she  was  con- 
tent to  present  animals  by  themselves,  though  always  with  the 
greatest  possible  faithfulness  to  nature. 

One  of  the  most  interesting  of  Landseer's  pictures  was 
painted  by  him  for  the  then  Prince  of  Wales.  It  is  called 
"The  Connoisseurs,"  and  shows  the  artist  himself  sketching, 
with  a  dog  on  either  side  intently  watching  his  progress. 
This  group  is  thoroughly  characteristic,  for  it  is  said  that 
wherever  Sir  Edwin  went  he  was  sure  to  be  followed  by  a 
troop  of  dogs,  his  devoted  pets. 

From  what  did  Sydney  Smith  quote,  "Is  thy  servant  a  dog,"  etc.? 


Alkxam»kk  AM)  DioGENKS — By  Sir  Kdivin  Landseer 


160  ART    STUDIES    FOR    SCHOOLS 

'\ 
Artist :  Henriette  Knip  Ronner 

Birthplace :    Holland 
Dates :  1821- 

Subject:         A  Fascinating- Tale 

MANY  a  wholesome  lesson  has  been  taught  by  means  of 
pleasantry — that  is,  by  wit  and  humor,  or  some  bright 
saying.  "A  Fascinating  Tale"  is  what  might  be 
called  a  pictorial  pun,  for  while  the  title  seems  to  promise  a 
delightful  story  to  the  listener,  it  is  the  eyes  of  the  cat  and 
her  two  kittens  that  are  fascinated  by  the  sight  of  the  tail  of 
the  disappearing  mouse.  There  could  not  be  a  spectacle  more 
alluring  to  the  feline  race,  and  you  can  easily  see  this 
expressed  in  the  eager  attitudes  and  excited  expectancy  of 
the  three  pussies. 

The  artist  who  painted  this  picture  is  a  woman  who  was 
born  in  Amsterdam,  though  she  now  lives  in  Brussels.  Her 
maiden  name  was  Henriette  Knip,  but  she  is  known  by  her 
husband's  name,  Ronner.  Her  father  was  an  artist,  also,  and 
taught  his  daughter.  She  paints  animals,  especially  those 
we  call  domestic  animals,  in  a  manner  that  shows  she  not 
only  observes  them  and  their  habits  very  carefully,  but  also 
appreciates  the  humor  often  displayed  in  their  actions. 

No  one  would  imagine  from  the  style  of  her  pictures — so 
full  of  fun  and  spirit — that  this  artist  has  had  a  life  of  care 
and  trouble;  and  yet  such  is  the  case.  Though  brimful  of 
talent,  apparent  in  her  earliest  childhood,  she  was  obliged 
to  work  hard  and  long  for  the  fame  she  has  undoubtedly 
won,  and  for  years  after  her  marriage  she  had  a  desperate 
struggle  with  poverty,  supporting  an  invalid  husband  and 
family  of  little  children,  and  toiling  early  and  late  at  her  art. 

This  is  a  very  simple  little  picture,  but  it  is  well  made  up 
as  to  straight  lines  and  curves,  flat  surfaces  and  round  ones, 
bringing  in  contrast  of  form,  while  the  two  kittens  furnish 
color  contrast.  There  is  no  stiffness  in  the  straight  lines  of 
the  many  books,  as  some  are  tipped  sidewise  to  give  us 
diagonal  lines. 


Where  is  Amsterdam?     Of  what  countrj^  is  Brussels  the  capital? 


A  Fascinating  Tale — By  Henriettf  Knip  Ronner 


162  ART    STUDIES    FOR    SCHOOLS 


Artist :  Charles  Emile  Jacque 

Birthplace  :  France 

Dates:  1813-1890 

Subject:  The  Sheepfold 

THE  artist  who  painted  this  picture  is  celebrated  for  his 
portrayals  of  sheep  going  to  pasture,  grazing,  coming 
home,  or  in  the  fold.  His  name  is  Charles  Jacque,  and 
he  is,  as  you  may  hav^e  guessed,  a  Frenchman. 

Few  French  artists  have  a  more  widely  extended  or  better 
deserved  reputation  than  Charles  Emile  Jacque,  and  he  was 
even  more  generally  known  as  an  etcher  than  as  a  painter. 
His  knowledge  of  barnyard  animals  was  remarkable,  and  he 
was  nicknamed  "Z^  Raphael  des  Porceaux''  because  of  his 
lifelike  pictures  of  pigs.  He  kept  these  animals,  as  well  as 
sheep  and  chickens,  so  as  to  be  able  to  study  them  the  more 
thoroughly. 

His  work  brought  him  several  medals  and  he  received  the 
decoration  of  the  Legion  of  Honor  in  1867. 

In  looking  at  this  pretty  scene  it  seems  as  though  we 
could  almost  stroke  the  fleecy  coats  of  the  sheep,  so  naturally 
are  they  painted.  And  see  how  safe  and  contented  the  hens 
look!  It  is  all  so  suggestive  of  good  will  and  peace.  Do  you 
remember  who  was  called  the  "Prince  of  Peace"  and  also 
"The  Good  Shepherd"?  Do  you  recall  the  story  of  the  shep- 
herd who  went  out  to  find  the  one  little  lamb  lost  on  the 
mountainside,  while  all  the  other  ninety  and  nine  were  safe  in 
the  fold?  The  lamb  is  such  a  gentle  creature  that  it  was  much 
used  by  the  famous  painters  of  olden  times  to  symbolize  the 
Saviour — "The  Lamb  of  God."  Another  domestic  creature 
referred  to  in  a  very  beautiful  passage  in  the  Bible  is  the  hen 
with  her  chickens.  It  is  sad  as  well  as  beautiful,  and  begins: 
"Jerusalem,  Jerusalem,  how  often  would  I  have  gathered 
thee,"  et  cetera.  I  am  not  going  to  tell  you  the  whole  of  it,  for 
I  wish  you  to  look  it  up. 


The  Sheepfold — Hy  Charles  Emili'  Jacque 


164  ART    STUDIES    FOR    SCHOOLS 

'\ 
Artist :  Elizabeth  Jane  Gardner 

Birthplace :    United  States 
Dates:  1842- 

Subject:         The  Two  Mothers  and  Their  Families 

THIS  delightful  and  suggestive  picture  was  painted  by 
an  American  woman,  Elizabeth  Gardner.  She  was 
born  in  Exeter,  New  Hampshire,  in  1842,  but  has 
spent  the  greater  part  of  her  professional  life  in  Paris,  where 
she  studied  under  various  French  masters,  among  them  Bou- 
guereau,  one  of  whose  beautiful  Madonnas  you  saw  on  page  71. 
She  is  now  the  wife  of  this  artist,  and  lives  and  paints  in  Paris. 
Her  pictures  have  been  warmly  praised,  especially  by  foreign 
critics,  and  perhaps  you  are  familiar  with  engravings  of  some 
of  them.  She  painted  "Moses  in  the  Bulrushes,"  "Ruth  and 
Naomi,"  "Maud  MuUer"  and  that  beautiful  picture  called 
"Cornelia  and  Her  Jewels." 

The  hen  in  the  charming  scene  here  shown  is  as  happy 
in  her  way  with  her  chickens,  and  as  anxious  to  find  food  for 
them  and  protect  them,  as  the  pretty  human  mother  is  happy 
with  and  proud  of  her  little  one  standing  by  her  knee.  I 
imagine  this  mother  is  teaching  a  lesson  to  her  boy  from  the 
hen  and  her  brood,  telling  him  how  kind  he  should  be  to  all 
dumb  creatures,  for  they  can  feel  pain  as  we  do,  and  they 
mourn  for  their  young  if  robbed  of  them. 

Look  up  the  story  suggested  by  each  one  of  the  pictures  named  above. 
Read  the  beautiful  poem  "Maud  Muller. " 


The  Two  Motmkrs  and  Their  Families — By  Elizabeth  Jane  Gardner 


160  ART    STUDIES    FOR    SCHOOLS 

Artist :  Jean  Francois  Millet 

Birthplace:  France 

Dates :  1814-1875 

Subject :  Feeding*  Her  Birds 

FEEDING  Her  Birds"  is  by  that  eminent  French 
artist,  Jean  Fran9ois  Millet,  some  of  whose  works  we 
have  already  studied.  They  all  bear  strong  evidence 
of  the  artist's  deep  love  of  nature — animate  and  inanimate — 
and  treat  especially  of  those  aspects  of  it  with  which  he  was 
most  familiar:  that  is,  of  peasant  scenes,  among  which  his 
early  youth  was  passed.  Although  Millet  became  a  very 
great  artist,  and  even  founded  a  school  of  painting,  called  the 
Barbizon  school  (from  the  place  in  France  where  it  was 
located),  he  always  loved  to  refer  to  himself  as  a  "Normandy 
peasant." 

Do  you  not  think  the  chief  charm  of  this  picture  lies  in  the 
expression,  rather  than  in  the  forms  employed  to  render  it? 
The  figures  of  the  mother  and  the  children  are  very  simple, 
and  even  homely;  yet  they  are  interesting,  not  only  because 
they  are  of  a  type  unfamiliar  to  us,  but  also  because  the 
subtle  touch  of  nature  in  the  scene  appeals  so  strongly  to  all 
whose  hearts  are  open  to  the  many  phases  of  nature  study. 

I  hope  you  will  early  become  alive  to  the  pleasure  to  be 
gained  from  making  a  study  of  the  traits  of  animals,  espe- 
cially those  we  call  domestic  animals.  Do  you  see  the  hen 
just  beyond  the  door  where  the  children  sit?  Does  not  the 
fact  that  the  fowl  is  attracted  by  the  motions  of  the  woman 
give  you  a  better  sense  of  the  truth  of  the  picture?  By  truth, 
I  mean  the  story  its  author  aims  to  tell  in  a  way  that  makes 
its  meaning  felt  by  the  observer,  even  if  the  latter  lacks 
the  faculty  of  putting  his  appreciation  into  words.  The  truest 
art  is  that  which  stirs  the  most  genuine  feeling.  Have  you 
not  seen  a  parent  bird  taking  home  a  good,  fat  worm  to 
the  fledglings  in  the  nest?  And  have  you  not  noticed  the 
eager,  outstretched  beaks  of  the  hungry  bird-children  ?  If  you 
have,  you  comprehend  intuitively  why  the  great  Millet  called 
this  picture  "Feeding  Her  Birds." 


Feeding  Her  Birds — By  Jean  Francois  Millet 


1G8  ART    STUDIES    FOR    SCHOOLS 

Artist :  Jacques  Clement  Wagrez 

Birthplace:  France 

Dates :  Contemporary 

Subject :  A  Corner  in  Venice 

WHAT  a  charming  scene  is  shown  here!  "A  Corner  in 
Venice"  was  painted  by  Jacques  Wagrez,  an  artist  of 
the  contemporary  French  school,  who,  though  he 
executes  portraits  also,  is  known  chiefly  for  his  pictures  of 
Venetian  and  Florentine  life  in  the  fifteenth  century.  He 
works  for  the  most  part  in  water  colors,  and  his  paintings  are 
remarkable  for  their  fidelity  in  all  details  to  the  period  repre- 
sented. The  architecture  and  the  costumes  of  the  time  are 
always  correctly  given,  and  while  critics  complain  that  his 
people  lack  character,  his  figures  are  drawn  with  the  utmost 
skill  and  are  invariably  pleasing  to  look  upon. 

In  this  example  of  his  work  a  feature  of  Venetian  life  is 
delightfully  set  forth.  I  am  sure  you  must  have  heard  of  the 
doves  of  Venice.  The  people  treat  these  little  creatures  so 
well  that  the  birds  have  grown  utterly  fearless,  and  in  a  cer- 
tain square  in  the  city  they  may  be  seen  in  flocks,  waiting 
about  to  be  fed. 

The  dove  is  another  symbol  of  gentleness  and  of  purity. 
Did  you  ever  read  the  pretty  story  told  by  Nathaniel  Haw- 
thorne about  a  girl  in  Rome  tending  doves  from  her  tower 
window?  She  was  an  American  girl  named  Hilda.  1  hope 
that  some  day  you  will  read  the  book,  for  it  is  one  of  the  most 
satisfactory  of  guides  to  the  art  treasures  in  Rome.  Its  title 
is  "The  Marble  Faun." 

Many  of  our  best  authors  and  those  of  other  lands  have 
written  about  birds  and  animals  in  the  most  charming  way. 
Besides  Shelley's  "Skylark"  and  Shakespere's  "Hark,  Hark 
the  Lark,"  which  have  already  been  mentioned  in  these 
pages,  there  are  "The  Waterfowl,"  by  William  Cullen 
Bryant,  "Llewellyn's  Dog,"  and  many  others,  which  I  feel 
sure  you  would  enjoy  reading. 


A  CoRNKK   IN  \'i'.\:ck.     ily  Jacques  Clhneni    \\\i,i. 


170  ART   STUDIES   FOR   SCHOOLS 


Artist:  Hey  wood  Hardy 

Birthplace:  England 

Dates :  Contemporary 

Subject:  Forgotten 

WHAT  a  contrast  to  the  last  picture  is  this!  See  the 
poor,  patient  pony  left  standing  in  the  bleak  snow- 
storm, while  its  thoughtless — yes,  heartless — master 
carouses  in  the  village  inn.  Note  the  dejected  air  of  the  poor 
little  beast,  and  contrast  with  it  the  jollity  of  his  rider  and 
companions  expressed  in  the  shadows  on  the  curtains.  The 
poor  pony  is  indeed  "Forgotten." 

Does  it  not  seem  wonderful  that  a  horse,  which  is  an 
animal  possessing  much  greater  strength  than  the  strongest 
man,  should  be  submissive  to  his  master,  even  when  that 
master  is  cruel  ?  It  proves  what  admirable  qualities  the  noble 
beast  possesses— qualities  of  patience,  faithful  devotion,  and 
willingness  to  work.  Let  those  who  would  abuse  a  horse,  or 
any  other  animal,  remember  that  the  same  God  created  them 
who  created  little  boys  and  girls.  Yes,  and  put  feelings  in 
them,  too.  I  hope  the  children  who  read  this  book  will 
never  be  unkind  to  animals,  or  allow  anyone  else  to  be  cruel 
if  they  can  prevent  it. 

Heywood  Hardy,  who  painted  this  pathetic  scene,  is  one 
of  England's  contemporary  genre  painters.  His  pictures  are 
exhibited  at  the  Royal  Academy  and  the  Grosvenor  Gallery, 
in  London. 


FoRGOTTKN — By  Heywood  Hardy 


172  ART    STUDIES    FOR    SCHOOLS 

Artist :  Frederick  Arthur  Bridgman 

Birthplace :   United  States 

Dates :  1847- 

Subject:        Procession  of  Apis-Osiris 

A  NIMALS  were  highly  regarded  in  olden  times,  and  were 
i~\  even  worshiped  by  some  of  the  ancient  pagans,  espe- 
cially by  the  Assyrians  and  Egyptians.  One  of  the 
chief  gods  of  Egyptian  mythology  was  Osiris,  who  was  repre- 
sented in  religious  festivals  by  Apis,  the  bull.  This  animal  is 
very  powerful  and  even  savage,  as  all  children  know  who  have 
seen  one  tearing  up  the  ground  in  a  country  pasture.  Because 
of  the  difficulty  men  found  in  subduing  him,  the  bull  was 
selected  as  a  type  of  the  Great  Power  which  all  nations  and 
even  savage  tribes  recognize.  In  this  picture  the  unwieldy 
brute,  covered  with  precious  embroideries  and  decorated  with 
flowers,  leads  the  procession  to  the  temple.  The  original 
painting  hangs  in  the  Corcoran  Art  Gallery  in  Washington. 

The  artist  who  painted  this  picture  is  an  American,  Fred- 
erick Arthur  Bridgman,  who  has  a  studio  in  Paris.  Born  m 
Tuskeegee,  Alabama,  in  1847,  when  very  young  he  showed 
marked  taste  for  drawing,  and  as  he  saw  no  other  opportunity 
for  gratifying  this  taste,  he  obtained  a  position  with  a  bank- 
note engraving  firm  in  New  York.  Two  years  later  he  went 
to  Paris  to  study  at  the  Ecole  des  Beaux  Arts,  and  now  his 
reputation  is  widespread.  He  has  received  many  medals  and 
orders  from  various  countries,  and  was  made  a  Knight  of  the 
Legion  of  Honor  in  1878. 

Bridgman  has  made  a  profound  study  of  the  civilization  of 
ancient  Egypt,  and  has  lived  in  Algeria  and  other  countries 
along  the  shores  of  the  Mediterranean.  His  reputation  has 
been  gained  chiefly  by  his  pictures  of  modern  Algerian,  Greek 
and  ancient  Egyptian  life,  but  he  does  not  by  any  means  con- 
fine himself  to  these  subjects.  He  has  traveled  a  great  deal 
and  has  found  something  to  appeal  to  his  artistic  sense  in 
each  country  visited;  he  has  painted  peasant  scenes  and 
portraits,  Swiss  landscapes,  and  pictures  of  the  ocean.  He  is 
remarkable  for  his  absolute  fidelity  to  local  types,  scenery 
and  costume. 


Procession  <tb  Apis-Osirts — By  F.  A.  Bruigman 


174  ART   STUDIES    FOR   SCHOOLS 

Artist :  Briton  Riviere  ^ 

Birthplace:  England 

Dates:  1840- 

Subject  I :  Ciree  and  the  Companions  of  Ulysses 

GREEK  mythology  contains  many  fascinating  legends,  a 
number  of  them  connected  with  animals.  You  doubt- 
less know  the  story  of  Ulysses  and  his  companions, 
who,  after  the  Siege  of  Troy,  wandered  for  ten  long  years 
before  they  finally  reached  their  native  land.  The  chief 
reason  they  were  so  long  on  the  way  was  that  they  kept  turn- 
ing aside  when  they  ought  to  have  gone  on.  Among  other 
places,  they  stopped  at  the  home  of  a  very  beautiful  but 
wicked  and  cruel  enchantress  named  Circe,  who  took  delight 
in  turning  into  swine  all  who  came  near  her  to  admire  her. 

The  picture  given  here  represents  the  companions  of 
Ulysses  as  swine  before  the  cruel  Circe.  Is  it  not  sad  to  see 
those  who  were  once  men  turned  into  these  ugly  animals? 
This  misfortune  came  to  them  because  they  did  not  attend  to 
their  duty.  When  people  neglect  what  is  right,  their  charac- 
ters change  very  unpleasantly,  and  this  change  of  character  is 
tolerably  sure  to  alter  the  expression  of  the  face,  even  though 
the  body  may  remain  the  same.  One's  face  will  not  remain 
beautiful  if  there  are  bad  thoughts  within  one's  heart. 

The  belief  that  every  person  is  followed  by  some  animal 
who  has  the  same  characteristics  as  himself  is  expressed  in 
the  old  Norse  Sagas;  so  when  we  read  there  of  the  wicked 
girl  calling  on  the  wolf  to  tell  her  what  to  do  to  get  rid  of 
her  beautiful  sister,  we  know  it  was  really  the  bad  heart  of  the 
jealous  girl  urging  her  on. 

Briton  Riviere,  who  painted  this  picture,  was  born  in  Lon- 
don in  1840.  He  is  of  French  descent,  his  ancestors  having 
been  among  those  who  took  refuge  in  England  in  consequence 
of  the  Revocation  of  the  Edict  of  Nantes.  The  Rivieres  have 
been  artists  since  1800.  Briton  Riviere's  grandfather,  father 
and  oldest  son  were  students  at  the  Royal  Academy,  and  he 
himself  has  been  a  member  for  some  eight  or  ten  years,  though 
he  did  not  study  there. 

Who  was  Ulysses?     What  is  meant  by  "Norse  Sagas"? 


176  ART    STUDIES    FOR    SCHOOLS 

'"  '\ 

As  a  schoolboy  Briton  Riviere  drew  and  painted  animals 
with  marked  talent;  indeed,  when  only-seven  years  of  age  he 
made  from  nature  a  sketch  of  a  wolf's  head,  which  is  said  to 
have  shown  extraoidinary  skill  for  so  young  a  child.  Two  of 
his  pictures  executed  when  he  was  not  over  eleven  years 
old  were  accepted  and  hung  at  the  British  Institute,  and  si.x 
years  later  he  had  three  pictures  at  the  Academy. 

Subject  II:    Daniel  in  the  Lions'  Den 

This  is  a  companion  picture,  as  it  is  called,  to  the  "Circe," 
though  it  is  quite  different  in  character.  Some  critics  con- 
sider it  Briton  Riviere's  masterpiece. 

See  how  calmly  Daniel  stands  before  these  raging  beasts. 
They  represent  the  envy,  jealousy,  malice  and  hate — yes,  and 
revenge,  too — of  those  persons  who  feared  the  upright  charac- 
ter of  the  prophet,  and  the  truth  he  told.  Daniel  was  not 
afraid,  however,  of  the  punishment  which  kings  could  inflict. 
In  this  hour  of  trial,  and  what  looks  like  great  danger,  he  feels 
no  fear,  for  he  knows  that  the  living  God  whom  he  worships 
and  serves  is  the  onlv  Power,  and  that  these  w'ld  beasts  really 
have  none  at  all. 

Could  there  be  greater  contrasts  than  this  picture  shows, 
as  to  expression  (calmness  and  rage);  as  to  attitude  (upright 
and  crouching),  and  as  to  line  and  masses  of  color? 

It  is  said  that  the  home  of  Briton  Riviere  is  one  of  the  most 
attractive  in  London.  His  studio  is  large  and  convenient, 
though  more  simple  than  others  built  at  the  same  time,  and 
here  the  artist  paints  for  half  of  each  day.  Years  ago  he 
injured  his  sight  by  too  close  work,  and  -  now  has  to  be  very 
careful  of  his  eyes 


Danii-x  in   int.  LiosA'   DtN— //v  Br  a  on  Rivier 


178  ART   STUDIES   FOR   SCHOOLS 


Artist :  Eugrene  Fromentin 

Birthplace :  France 

Dates:  1820-1876 

Subject:  Hunting  with  Falcons 

THE  Saracens,  the  Arabs,  and  the  Moors  played  a  prom- 
inent part  in  the  growth  of  the  civilized  world  by  bring- 
ing the  art,  literature,  and  general  culture  of  the  East 
into  Europe.  We  see  their  beautiful  architectural  works  in 
Southern  Spain,  and  in  Granada  is  an  especially  fine  relic  of  their 
times,  about  which  Washington  Irving  has  written  beautifully. 

The  people  of  these  races  have  always  been  fond  of  ani- 
mals, as  is  natural,  since  they  are  nomadic;  hence  are  depend- 
ent on  these  friends  and  servitors  of  man.  The  Arabs  have 
developed  a  magnificent  breed  of  horses,  known  the  world 
over  for  their  wonderful  speed  and  rare  intelligence,  as  well  as 
their  remarkable  beauty.  Many  famous  artists  have  loved  to 
paint  them,  among  others  Eugene  Fromentin,  a  Frenchman. 

The  example  of  his  work  here  given  represents  a  hunt  with 
falcons.  The  original  is  in  the  French  museum  called  the 
Luxembourg,  which  was  once  a  palace  of  the  French  kings. 

Eugene  Fromentin  was  born  in  1820,  at  La  Rochelle, 
where  his  father  was  a  physician.  From  1846  to  1848  he  lived 
in  Algiers,  and  later  spent  a  year  there,  both  times  making 
sketches  and  studies  without  number  for  his  characteristic 
paintings  of  oriental  life.  Besides  having  made  his  mark  as 
an  artist,  he  is  known  as  the  author  of  several  delightful  books 
of  travel  and  a  successful  work  of  fiction. 

He  won  numerous  medals,  received  the  decoration  of  the 
Legion  of  Honor  in  1859,  and  ten  years  later  was  made  an 
Ofificer  of  the  Legion. 

He  depicted  oriental  scenes  almost  exclusively  and  his 
paintings  of  Arabs  and  their  life  in  the  desert  are  remarkable 
for  their  spirit  and  truthfulness.  Travelers  who  know  the 
region  well  are  able  to  testify  to  the  correctness  of  his  por- 
trayals even  in  the  smallest  particulars;  while  his  attention  to 
detail  did  not  prevent  the  display  of  much  originality  and 
keen  imagination. 

Where  is  Algeria?    La  Rochelle? 


Hunting  with  Falcons — By  Eugene  Fromentin 


180  ART   STUDIES   FOR   SCHOOLS 

"  •\ 

Artist :  Adolf  Schreyer 

Birthplace :  Germany 

Dates:  1828- 

Subject  I :  A  Kabyle 

ONE  of  the  very  ablest  painters  of  Arabian  horses  is 
Adolf  Schreyer,  who  was  born  in  Frankfort- on -the 
Main,  in  1828.  "A  Kabyle"  is  among  his  finest 
pieces,  one  of  those  spirited,  faithful  representations  that 
make  us  feel  as  though  we  had  witnessed  just  such  a  scene  in 
real  life,  and  were  glad  the  artist  had  had  the  genius  to  put  it 
down  in  lines  and  shades  and  colors  for  us  to  keep — just  as  a 
great  poet  will  say  the  very  things  that  have  been  hiding  in 
our  own  hearts,  waiting  for  the  master  touch  to  summon  them 
forth. 

Belonging  to  a  wealthy  and  distinguished  family,  Schreyer 
had  every  advantage  that  travel  and  instruction  can  give.  He 
studied  the  horse  in  the  riding  schools  of  his  native  city  and 
then  while  accompanying  the  Austrian  army  in  its  march 
through  the  Danube  provinces.  He  has  traveled  in  all  the 
principal  countries  of  Europe  and  has  visited  Egypt  and 
Algeria. 

Loving  the  horse  as  he  did,  he  could  not  fail  to  be  capti- 
vated by  the  noble,  far-famed  Arabian  breed,  which  is  so 
beautiful  and  picturesque,  with  its  rich  mane  and  tail  and 
handsome  coat,  its  shapeliness,  spirit  and  intelligence.  Nearly 
all  his  pictures  are  composed  to  exhibit  this  noble  animal. 
Martial  subjects  are  drawn  by  him  less  for  the  human  interest 
they  contain  than  for  the  display  of  some  admirable  character- 
istic of  the  horse. 

Adolf  Schreyer  has  won  medals  at  Paris,  Vienna,  and 
Brussels;  in  1864  the  Cross  of  the  Order  of  Leopold  was  con- 
ferred upon  him,  and  he  is  a  member  of  the  Rotterdam  and 
Antwerp  academies.  In  1862  he  was  made  Painter  to  the 
Court  of  the  Grand  Duke  of  Mecklenburg-Schwerin. 

His  work  is  extremely  popular  in  the  United  States  and 
many  of  his  finest  works  are  owned  in   this  country,  chiefly  in 

What  does  the  word  "Kabyle"  mean?  Point  out  on  the  map  Frank- 
fort-on-the-Main. 


A  Kabylk— /yj'  Adolf  Si'hriyer 


182  ART   STUDIES    FOR   SCHOOLS 

private  galleries  in  New  York.  I  hope  you  may  be  so  fortu- 
nate as  to  see  some  of  his  originals,  for  you  will  surely  enjoy 
them,  especially  if  you  are  a  lover  of  horses 

Subject  II :    A  Halt  in  the  Desert 

In  Schreyer's  pictures  the  animal  always  reflects  the  intel- 
ligence of  its  master,  and  its  whole  attitude  conveys  the  idea 
of  sympathy  with  the  motives  and  wishes  of  the  rider.  In 
fact,  in  some  of  the  pictures  of  this  artist,  the  horse  seems  to 
be  capable  of  independence  of  action  bearing  on  the  circum- 
stances; as,  for  example,  the  white  horse  in  this  scene. 

Traveling  across  the  desert  is  very  difficult  and  dangerous, 
both  because  of  the  lack  of  water  and  on  account  of  the  pres- 
ence of  hostile  tribes.  In  this  picture  the  travelers  have  come 
to  a  green  spot,  an  oasis,  where  there  is  a  spring  of  water, 
and  they  are  resting — both  men  and  animals.  But  so  accus- 
tomed are  the  horses  to  combat  that,  although  the  men  are 
smoking  unconcernedly,  the  noble  white  charger  is  on  the 
alert,  almost  sniffing  danger  afar.  The  picture  might  have 
been  called  "The  White  Sentinel,"  so  vividly  does  this  beau- 
tiful animal  express  the  character. 

The  masses  of  light  and  shade  and  the  color  values  are  most 
skilfully  arranged  in  this  picture;  the  drawing  is  superb  and 
the  sky-line  very  beautiful.  The  sense  of  rest  and  activity  at 
the  same  time  is  cleverly  conveyed. 


A  Halt  in  thk  Dkskrt — Hy  Adolf  Schreyer 


184  ART    STUDIES    FOR    SCHOOLS 

•"  '\ 

Artist :  Emile  Jean  Horace  Vernet 

Birthplace:  France 
Dates:  1789-1863 

Subject:        Prayer  in  the  Desert 

THE  Arab  represented  in  this  picture  has  heard  the  call 
to  evening  prayer  and  has  fallen  on  his  knees  on  the 
ground,  facing  Mecca,  to  pay  his  devotions  to  Allah. 
How  plainly  we  see  it  is  evening  rather  than  morning  by  the 
strong  shadows  cast  so  long  and  flat  by  both  man  and  camel! 
There  is  no  tree  or  hitching  post  to  which  the  poor  beast  may 
be  tied,  so  one  leg  is  bound  in  that  uncomfortable  position  to 
keep  him  from  running  away.  It  is  doubtful  if  his  feelings 
are  as  peaceful  as  those  of  his  master. 

The  picture  is  called  "Prayer  in  the  Desert,'  and  is  by  a 
very  celebrated  French  painter,  Horace  Vernet,  who  was  born 
at  Paris  in  1789.  He  was  a  soldier  and  loved  best  to  follow 
the  army  into  foreign  lands.  In  1814  Napoleon  decorated 
him  with  the  Cross  of  the  Legion  of  Honor  for  his  gallant 
conduct  at  the  defence  of  the  Barriere  de  Clichy,  which  he 
afterward  embodied  in  one  of  his  paintings.  He  was  a  great 
favorite  of  the  Emperor  of  Russia,  for  whom  he  executed 
many  paintings.  His  memory  is  spoken  of  as  marvelous,  for 
he  never  forgot  a  shape,  a  shade,  or  an  expression  when  he 
wished  to  recall  a  subject  to  paint  it. 

In  some  families  the  same  profession  is  pursued  by  genera- 
tion after  generation,  and  such  was  the  case  with  the  family  of 
Vernet.  Joseph,  father  of  Horace,  was  one  of  the  ablest 
painters  of  his  day  and  taught  his  son  and  also  Madame  Le- 
brun,  who  painted  the  portrait  of  herself  and  daughter  on  page 
97.  The  father  of  Joseph,  Antoine  Vernet,  also  acquired  fame 
by  his  paintings. 

It  is  said  that  Horace  Vernet  supported  himself  by  his  draw- 
ing when  only  fifteen  years  of  age.  He  became  known  as  a 
painter  of  military,  oriental  and  biblical  scenes,  but  after 
1836  devoted  himself  chiefly  to  battle  pieces  and  pictures  ot 
Arab  life. 

What  does  "Allah"  mean?  Supposing  the  shadows  in  this  picture  to 
be  cast   at  evening,    in   what   direction    must   Mecca   be  geographically  ? 


Prayer  in  the  Desert— /^v  Horace   Vernet 


Art  for  Schools. 


LIST  OF  PICTURES.  Prepared  for  the  use  of  the  Boston 
schools.  This  list  is  valuable  because  it  is  a  guide  to  the 
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STATUARY.^  We  carry  the  celebrated  Wilton-Reuther  stat- 
uary. Write  us  what  you  wish,  height,  and  if  possible  some 
idea  as  to  about  how  much  you  can  invest,  and  we  will  give 
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THE  PERRY  PICTURES.  Reproductions  of  famous  paint- 
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cators, musical  composers,  pictures  representing  historical 
events,  etc.     Sixteen  hundred  subjects,  all  carried  in  stock. 

PRIZE  DESIGNS   FOR  RURAL  SCHOOL  BUILD- 

INuS.  By  F.  W.  Colburn.  This  book  consists  (1)  of  a 
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and  material  used  in  construction,  all  receive  special  attention. 
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COLBURN'S  HOW  TO  DECORATE  THE  SCHOOL 

ROOM.  By  F.  VV.  Colburn.  It  is  hardly  an  exaggeration 
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because  the  eye  suggests  that  this  or  that  **looks  well."  More 
often  the  effect  is  inharmonious  or  else  no  attempt  at  beautify- 
ing is  made,  simply  because  the  teacher  does  not  know  WHAT 
or  HOW.  To  help  such  conditions  is  the  purpose  of  this 
book.  A  few  fundamental  principles  of  color,  form  and 
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sive material,  greatly  modify  the  problem  of  decoration.  The 
closing  chapter  deals  with  outside  adornment  and  the  arrange- 
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26  cents. 

A.  FLANAGAN  COMPANY, 
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